Marshall Maynard Fredericks :: Two Bears, 1969

Bronze
Location: Donald W. Reynolds Grand Hall Atrium

Marshall Fredericks was born in Rock Island, Illinois, in 1908. He attended the Cleveland Institute of Art and later studied in Sweden with Carl Milles, a protégé of Rodin. When Milles went to teach at Cranbook Academy of Art in Bloomfield Hills, Michigan, Fredericks joined him there. He taught there for ten years. Fredericks soon became known for his monumental bronze sculptures, often with patriotic themes. His twenty-six foot tall Spirit of Detroit is a well-known local icon. Although he is best known for heroic public sculpture, generations of children know him for his whimsical animal sculptures, done in all sizes. In the Meijer Gardens in Grand Rapids there are bronze baboons, frogs, and bears, including Two Bears, a six foot tall version of the pair of bears in our atrium. As he grew older, he delighted in making larger or smaller versions of some of his older work. When someone pointed out that the elementary school which his five children attended had no examples of his work, he made a three-foot tall version of Two Bears. In an interview appearing in the Spring 1998 issue of Scandinavian Review, he stated “…I want more than anything in the world to do sculpture which will have real meaning for other people, many people, and might in some way encourage, inspire or give them happiness.” Fredericks died in 1998 in Birmingham, Michigan. The definitive collection of his work is housed at the Marshall M. Fredericks Gallery at Saginaw Valley State University.

Kendall Buster :: Double Chalice: Joined and Separated

Kendall Buster b. 1954
Double Chalice: Joined and Separated, 1996
Steel, netting – 114” x 114” x 180”
Location: Nightingale Rooftop

Kendall Buster’s first field of study was microbiology, where she became fascinated with the beauty of what she saw under the microscope. The more she studied these micro-organisms, the more she felt as if she were entering an exotic alternate landscape. She decided to study art, in order to give substance to these forms. She received an MFA in sculpture from Yale University and began to bring her conceptions to life. She began to create large sculptural forms which appear to be objects occurring in nature, such as huge seed or pods or cells magnified a hundred times. They are organic shapes built over steel armatures and covered with semi-opaque netting. Buster enjoys the play between transparency and opacity in her work, as well as the contrasting feelings of welcome and menace. Commenting on a 1999 exhibition at the Kemper Museum of Contemporary Art in Kansas City, Missouri, David Cateforis describes Double Chalice: “…a pair of screen-covered skeletons, open to entry on either end and interlocking at the center. The composition suggests, in Buster’s words, a ‘mating machine,’ with the circular opening of the female side receiving the probe of the male element. Depending upon which side of the sculpture the visitor enters, he or she may identify either with the penetrator or the penetrated.”
Visitors to the NMA’s Double Chalice remark on the organic nature of her sculpture, but just as often describe it as a set of doorknobs, two cups, a barbell, a spider, parachutes, a jellyfish or a flower. The NMA chose it for the rooftop gallery because it can withstand weather as well as gentle touching—children are told they may pat it, but not poke it.Buster lives in Richmond Virginia, and teaches in the Department of Sculpture and Extended Media at Virginia Commonwealth University.

Note prepared by Kathleen Durham and Lois Smalley.

Deborah Butterfield: Horses Tour Blueprint

Palma, 1990, Found steel, welded
Introduction
Deborah Butterfield: Horses presents fifteen cast bronze and found steel sculptures created by contemporary Montana artist Deborah Butterfield. Nine of these sculptures are larger than life size by twenty-five percent or more, and the remaining pieces consist of smaller scale pieces displayed on pedestals. The exhibition is organized by the Yellowstone Art Museum located in Billings, Montana.
Butterfield Biography
Deborah Butterfield is one of the world's leading sculptures and teachers of fine arts, with a solid career and many honors to her credit. She received her Bachelor of Arts degree from the University of California, Davis, in 1972, followed by her Masters of Fine Arts degree in 1973. In 1997, she received an Honorary Doctorate of Fine Arts from Rocky Mountain College in Billings, Montana. This honor was repeated in 1998 by Montana State University, Bozeman, Montana. Butterfield's teaching career began in 1974 at the University of Wisconsin, Madison.
In 1979, she joined the staff of Montana State University, Bozeman, as an assistant professor and in 1984 became an adjunct assistant professor and a graduate student consultant. Her honors and awards are numerous and include a National Endowment for the Arts Individual Artist Fellowship in 1977; a John Simon Guggenheim Memorial Fellowship in 1980; a National Endowment for the Arts Individual Artist Fellowship in 1980; a Citation for Excellence Award from the UC Davis and Cal Aggie Alumni Association in 1992; and an American Academy of Achievement Golden Plate Award in 1993.
Butterfield has exhibited across the United States and Europe. Her work is widely collected by private individuals and museums, and she has been commissioned to create site-specific sculptures by a number of significant museums and public sites, including the Whitney Museum of American Art; the Metropolitan Museum of Art; Israel Museum; San Francisco Museum of Contemporary Art; Oakland Museum; Urban Development Corporation of Boston, Massachusetts - Copley Square; the Walker Art Center Sculpture Garden, Minneapolis, Minnesota; the Greenwich, Connecticut, Arts Council; the Portland, Oregon, International Airport; the Kansas City Zoo; and the Denver Art Museum.
Tour Details
The Deborah Butterfield: Horses exhibition will make up a significant portion of most tours, and some tours will likely focus on this exhibition only. Tours of the exhibition should focus on the quiet, linear forms of the sculptures themselves, emphasizing the scale, size, materials, and shapes of the materials. One strategy that might be of use would be to let tour groups walk quietly into the gallery just to experience the sculptures—their scale, forms, materials—to, as Butterfield explained, “let people feel the sculptures through their skin” (without actually touching them, of course!) Tours might also focus upon the process by which the sculptures are created and the history of the horse in art (be sure to see the horse in art timeline in the Feature Gallery East). Please note that under no circumstances can the works be touched. Despite their very tactile forms, because the horses are not attached to the floor with bolts, as Nevada Horse is outside, insurance and legal liabilities prevent us from allowing the sculptures to be touched at any time.
Orientation
You’ll find the Butterfield horses in the feature exhibition gallery on the third floor. At the entrance to the exhibition, displayed in front of the title wall, you’ll find Derby Horse, and around the corner from it, in an intimate space near the “front” of the exhibition are the remaining small scale sculptures in the exhibition. The large-scale sculptures are displayed in the main areas of the gallery. As with many of our exhibitions, there is no prescribed pattern to follow through the gallery.
The Casting Process
Butterfield assembles the original wood sculptures by fastening logs, branches, sticks, planks and boards onto an armature that gives the basic posture of one particular horse. The piece is photographed from all sides and angles, with particular emphasis on the photographs of the areas where individual pieces are joined. These photographs are used to reconstruct the various elements after casting.
A bronze casting of a wood stick is made by taking the natural wood and covering it with ceramic molding material, which is capable of picking up exacting detail. The mold is then kiln-fired; during the firing process the wood is completely burned away. The kiln used to cure the ceramic is then "fired down" (the temperature is reduced), and the ceramic shells are removed. Any ash left from the wood is vacuumed or washed out of the shells. The shells are then taken to the wax-pattern department, where wax heated to a temperature of 200 degrees Fahrenheit is poured into the cavity within the shell. The pattern maker then pours the hot wax back out while slowly rotating the shell. This process is repeated several times until the wax inside the ceramic shell is 3/16-inch thick. The thickness of the wax will eventually become the thickness of the bronze alloy.
Next, several shells are connected at their tops with wax rods or shafts called "gates." The gated shells are then submerged into a cylindrical form full of plaster-based molding material, which hardens around the ceramic shells. When the plaster molding has set hard, it is placed inside the kiln and fired to 1000 degrees Fahrenheit. At this temperature the wax inside the ceramic shells and the connecting wax gates are melted away. The gates where the wax rods were prior to firing will then guide the flow of metal from the top of the mold into the stick shells.
With the wax gone, the cylindrical form is removed from the kiln and molten bronze is poured through a hole in the top of the form through the voids where the wax rods were previously and into the empty ceramic shells. When the metal has solidified, the plaster and ceramic materials are broken away from the bronze, revealing a metal copy of the original wood.
Once each individual piece of the entire sculpture is cast in bronze, and the pieces are welded together to create the horses’ forms, the metal shop finishes the details by tooling the welds and blemishes to texture the entire surface to appear like wood.
The piece is then sandblasted to prepare it for a patina. A combination of white pigment and chemicals is sprayed and brushed onto the heated bronze. The finished piece is then sealed with heated wax.
Tour Framework
Explain that the Deborah Butterfield: Horses exhibition was organized by the Yellowstone Art Museum in Billings, Montana, and contains artwork owned mostly by Butterfield rather than other collectors (though there are works loaned back to her and to the NMA) because it is of some personal significance to the artist.
Explain that there are twelve horses in the exhibition proper, and three additional small-scale sculptures have been loaned to the NMA for the exhibition by local collectors here in Reno.
Ask guests to enter the exhibition quietly. Encourage them just to try to absorb their thoughts, feelings, and senses as they approach the sculptures (but please be sure to remind guests not to touch the art!). If guests ask why they can’t touch, we can explain that 1) the art belongs to the artist, not the NMA; 2) the surfaces of the found steel sculptures are quite fragile, and paint and patina can flake off with very little help; 3) insurance liabilities for the sharp metal objects are high; and 4) the smaller, more fragile works can be toppled, as could the very large (and heavy) works, which would be very dangerous.
Ask guests what it feels like to stand next to such a large sculpture as With the Current or Isbelle. Does it feel differently because the sculpture is of a horse, rather than another object? What kinds of feelings or reactions do the large sculptures make you experience?
Ask guests to look closely at Isbelle, Hawaii (Big Island), or one of the smaller cast bronze sculptures such as Pilot (named for the Pilot Peak fire in Montana), Jane, Hunter, or Sugi. What do sculptures appear to be made of? Are they really made of wood? How can you tell?
Explain the “lost stick” lost wax bronze casting process to guests, showing them a piece of driftwood or the bronze stick from the basket at the front desk, or focusing their attention on the display case in the feature gallery east.
Pass around a piece of driftwood, or one of the steel or bronze pieces from the basket at the front desk, and let guests feel the texture and weight of the materials.
Ask guests to look very closely at the coloration and texture of the bronze. Explain that the bronze casting process picks up the nuances of the original wood’s texture, but that the extremely detailed coloration in the patinas contributes to the bronze appearing like “real” wood. Ask them to look for “splatters” of black, white, and grey colors that mimic the appearance of aged wood.
Explain that Butterfield’s artistic influences include Native American, African, and Asian artistic traditions. Her sculptures are inspired by the natural materials she uses to create them. Butterfield also identifies, especially in her early works, influences ranging from bonfires to funeral pyres.
Ask guests to look at With the Current, Forgetting the Other, Rondo, Palma, Billings, or Redhead (in the lobby). Explain that the works are made of pieces of found steel that Butterfield welds together to create the forms of these sculptures. Explain that the rusty patina and remaining painted areas are extremely fragile, and many of the pieces are quite sharp.
Ask guests to consider the meaning of the names of With the Current and Forgetting the Other. Explain that Palma is named for Butterfield’s mother-in-law, and Rondo shares its name with a famous quarter horse line from the 1880s of the King Ranch in Texas. You might also explain that the small scale sculptures Hunter and Sugi share their names with Butterfield’s son and the Japanese word for ‘cedar,’ respectively.
Ask guests to consider how Butterfield’s horse sculptures differ from other kinds of horse art they have seen before. In what ways do the sculptures depict horses differently than, say, depictions by artists of the Tang Dynasty in China (618-907 a.d.), the Lascaux cave paintings, Leonardo da Vinci, Frederic Remington, Edward Borein, Franz Marc, Charles M. Russell, or Maynard Dixon?
Ask guests how, if at all, the fact that many of these creators of famous horse art are men affects their views of Butterfield’s horses? Does Butterfield’s gender have an affect on their interpretation of her work now, or on their interpretation of artwork of horses historically?Ask guests to consider the shapes of horses. Can they see rectangles, triangles, or circles in the forms of the horses? Can they see such shapes in the cast bronze sculptures, in addition to the found steel sculptures?

Ilan Averbuch :: Shadow of the Sun

Ilan Averbuch
Shadow of the Sun (Sombra del Sol), 1986

Stone and water (paving stones from New York City)
48” diameter circle
Location: Nightingale Rooftop
Acquisition: 2003 In Memory of K.C. Grellman, Gift to the NMA from the K.C. Grellman Fund

Shadow of the Sun is a circle of rough stones with a chiseled channel to collect water. Circular stone enclosures are a common – even ancient – focus for ritual or ceremony. Unlike heaps or piles of stones, circles are deliberate and have some aesthetic characteristics. When there is water in the sculpture there are allusions to ancient aqueducts, and agricultural irrigation systems. In looking at Averbuch’s sun circle, one is invited to walk all around it, to experience the rays going out in all directions. One may also have the urge to look up to the open expanse of sky above the space where the sculpture is installed. Most days it is a bright open space, but can also evoke feelings of a secure closed-in place for meditation.

Ilan Averbuch was born in Tel Aviv in 1953. He was educated in New York and has exhibited in the U.S., Canada, Europe, India and Israel. His themes are civilization and its history, and its interaction with nature. His outdoor sculptures make use of heavy, dense materials such as stone, lead, and chunky wooden beams. However, his indoor installations are of paper and glass, often balanced against strong, serious elements like iron and copper, with elegant results. In a 1997 interview with Sculpture magazine, Averbuch described his pieces as having archeological and architectural content, and discussed the influence of his Israeli heritage in his work. He lives and works in Long Island City, New York.

Note prepared by Kathleen Durham and Lois Smalley.

David Maisel: Black Maps Tour Blueprint

Introduction
The exhibition David Maisel: Black Maps consists of aerial landscape photographs of three separate but related projects (he refers to them as “chapters”) by Maisel: The Lake Project, Terminal Mirage, and Oblivion. Each chapter contains images of landscapes deeply impacted by human hands, the images’ beauty belying the environmental degradation they depict. The Lake Project (2001) contains images of the desiccated bed of Owens Lake in east-central California; Terminal Mirage (2003) consists of images made of The Great Salt Lake and Tooele Army Depot munitions storage facilities; finally, Oblivion (2006) depicts the urban-suburban interface of Los Angeles, the fabric of an urban environment that is desecrated and yet also somehow alive.
Maisel studied architecture, landscape architecture, and photography at both Princeton University and the Harvard University Graduate School of Design before embarking on his professional career as a photographer. He studied photography with Emmet Gowin, an artist whose work is held in The Altered Landscape Collection. His studio is located in the Bay Area.
Artist’s Statement, from Lens Culture
The Black Maps project is comprised of aerial photographs of environmentally impacted landscapes. These images have as their subject matter the undoing of the natural world by the wide-scaled intervention of man’s actions. Looking down on these damaged wastelands, where man’s efforts have eradicated the natural order, the views through my camera are both spectacular and horrifying. Although these photographs evidence the devastation before me, they also transcribe an interior psychic landscape that is profoundly disturbing. As otherworldly as the images seem, they depict a shattered reality of our own making.
The Black Maps project has unfolded in chapters, focusing on such subjects as strip-mines, clear-cuts, cyanide leaching fields, tailings ponds, firestorms, the drainage remnants of Owens Lake, and other manipulations of the natural world.
The most recent chapter of my work is Terminal Mirage. Inspired by Robert Smithson’s apocalyptic writings on the Great Salt Lake, I have embarked upon an aerial survey of this surreal and brutal region, including site of evaporation ponds covering some 40,000 acres along the eastern and southern shores of the lake, and the blood red color of the lake itself.The photographs in this series are presented as either 30”-x-30” or 48”-x-48” color C-prints. The large-scaled prints begin to encompass the viewer’s peripheral vision, and their lushness and strange beauty are psychologically demanding as well as visually exhilarating. They convey something of the sublime, seemingly limitless aspect of the sites from which they are made. In these photographs, the forms of environmental disquiet and degradation function on both a documentary and metaphorical level, and the aerial perspective enables one to experience the landscape like a vast map of its undoing. These images are meant neither to vilify nor glorify their content, but rather to expand our notions of what constitutes landscape and landscape art. Engaged as I may be in the immediate political issues, I am not attempting to make literal records of environmental destruction. Rather, I seek to reveal the landscape in something other than purely visual terms, the photograph transcribing it as an archetypal space of destruction and ruin that mirrors the darker corners of our consciousness. Maps, like photographs, are designed to offer an objective overview, a means to comprehend our location; they are both place and concept, figurative and abstract. But a map that is black, as the title of this work suggests, is a kind of negation. Black maps are indeed unknowable and unnamable; they are ciphers. Perhaps these are the only kinds of pictures, with their compelling ambiguities, with which we can mark the demise of these landscapes.
Orientation
The photographs are largely organized chronologically by “chapter,” to use Maisel’s vocabulary, and are laid out counterclockwise—you’ll find images from the earliest “chapter,” The Lake Project, along the title wall; they stretch down the right-hand-side (east) wall of the Hawkins Contemporary Gallery. Proceeding along to the right (east) and around the gallery, the images on the north and west walls of the main area of the gallery are from Terminal Mirage, and the final area in the gallery, on the west and south walls of the space, you’ll find the black and white images of Oblivion, Maisel’s most recent project. (Note: Some of the Oblivion images are positive, while others are negative).
Tour Framework
Explain that David Maisel: Black Maps are aerial landscape photographs created by photographer David Maisel, who is based in San Francisco, and who was trained in architecture, landscape architecture, and photography at both Princeton University and the Harvard University Graduate School of Design.
Ask guests to consider how the photographs are different from other landscape photographs they have seen.
Explain that as landscape photographs, and even as aerial landscape photographs, the images are unique because of the way that they abstract the landscape, removing any kind of instantly recognizable reference points, including, most importantly, horizon lines.
Ask guests to consider what they think they might be looking at in the photographs.
Explain that the images from The Lake Project (2001) are photographs Maisel made while flying over the desiccated bed of Owens Lake in eastern California, about five miles south of Lone Pine, California, on Highway 395. The images show the alkaline, dried bed of the lake, with what remains of the Owens River leading into and away from the lake itself—the blood-red ribbon seen in the images from The Lake Project.
Explain that beginning in 1913, the City of Los Angeles Department of Water and Power began diverting the water from Owens Lake and the Owens River to feed the Los Angeles Aquaduct, a project begun to help slake the thirst of the growing population and development of the Los Angeles Basin in the early decades of the twentieth century.
If people ask you why the water, or what remains of the water, is red, explain that the alkaline levels in the lakebed are at levels high enough to accommodate some forms of bacteria and algae, including the pink halophilic (salt-loving) bacteria recorded in the images: they are among the few kinds of living organisms that can tolerate the toxicity of the now-drained lake.
Explain that after 2002, the City of Los Angeles began purposely re-flooding the lake bed because of increasing environmental health hazards caused by alkali dust storms that drop up to four million tons of toxic particulate matter on communities downwind of the lake.
Explain that the Terminal Mirage portfolio consists of images made largely in 2003, when Maisel conducted another aerial survey, this time of the Great Salt Lake, the Tooele Army Depot, in Tooele County, Utah, near the Great Salt Lake. Maisel identifies the apocalyptic writings on the Great Salt Lake of the land artist Robert Smithson, who created the now-famous Spiral Jetty, as inspiration for the Terminal Mirage photographs.
Explain that Smithson’s Spiral Jetty was created during a drought in 1970, but that for twenty-five years, between about 1975 and 1999, the jetty was covered by the waters of the lake. Since 1999, it has been exposed again, and though it’s made of black basaltic rocks, the rocks are now encrusted with salt from the lake, and appear white.
Ask viewers why they think the colors of the water are so different in each image. Explain that the Great Salt Lake is rich in a number of key minerals, including magnesium, sodium, potassium, chloride, and sulfate, among others. Each mineral suspended in the waters of the lake has its own color, and the richness of the colors says something about the densities of the minerals at a given time in the water.
Explain that the images of the Oblivion portfolio were taken by Maisel beginning shortly after September 11, 2001, and as a result, Maisel experienced some difficulty in his efforts to fly in the airspace of the city.
Explain that some of the images are presented as negative images, while others are positives.
Ask viewers what their thoughts are about the effects of Maisel’s choice to present the images in negative form. What does the negative image convey that a positive image might not?

The Road to Reno: Inge Morath Tour Blueprint

Introduction, from The Road to Reno: Inge Morath, by John P. Jacob, The Inge Morath Foundation

Inge Morath was born in Graz, Austria, in 1923. She studied languages in Berlin, and after the Second World War became Austrian editor for Heute magazine. A friend of photographer Ernst Haas, Morath wrote articles to accompany his photographs. Together, they were invited to Paris by Robert Capa to join the recently founded Magnum Photos, where she worked as an editor. Morath began photographing in 1951, and assisted Henri Cartier-Bresson as a researcher in 1953-54. She became a member of Magnum in 1955.

In the following years, Morath traveled extensively in Europe, North Africa, the Middle East, and the United States. Her knowledge of history and facility with languages, including Russian, Romanian, and Mandarin as well as English, Spanish, and French, provided Morath with a unique perspective into the people and places she visited. After her marriage to Arthur Miller in 1962, Morath settled in New York and Connecticut. She and Miller traveled to the USSR together in 1965, and in 1978 they made the first of many trips to the People’s Republic of China. In the 1980s and ‘90s, Morath continued to pursue both assignments and independent projects. She died in 2002, leaving a photographic archive encompassing more than fifty years of her life.

Inge Morath was a serious and gifted reporter who could not resist infusing a touch of surrealism into her photographs. This playful element lifted her work above mere reportage by revealing the mysterious at work within the ordinary and the everyday. It has been the distinguishing feature by which Morath’s photographs have, until now, been recognized. Another gift is her feeling for places: her pictures of […]artists’ studios and cemetery memorials, are permeated with the spirit of invisible people still present.

[…] Morath carried her portable typewriter wherever she traveled, as indispensable as her cameras. Words, as much as film, were her medium. Attempting to be true to both her process and her voice, [this exhibition] follows Morath’s markings on her contact sheets to determine the selection and the flow of images, while leaving her non-native English, with its typographic charms and frequent structural indulgences, intact. In combining the three distinct elements of her work, images, journal writings, and caption notes, The Road to Reno presents Morath’s work as she created it: as a story.

What is most unique about this particular story is that it has never before been publicly told. It is the story of Morath’s encounter with her own future; with Arthur Miller who would become her husband, and with the United States, which would become her adoptive homeland. Until recently, Morath’s American road trip was unknown outside the circle of her family and friends. […]Inge Morath, setting out with Henri Cartier-Bresson (on assignment across the country to the film set of The Misfits) defines the vertices of her route simply: 18 days; New York to Reno; a friend, camera and a typewriter. […] Morath’s 18 days on the road stitch a trajectory through July and through 1960, leaving room between her careful photographs and her astute, poetic written observations […]

Exhibition and Tour Details

The Road to Reno: Inge Morath exhibition is organized by The Inge Morath Foundation, created by her family members and Magnum Photos in Morath’s name to document, promote, and care for the work created during her 60-year career. In its first several weeks, The Road to Reno: Inge Morath exhibition has proven to be much more interesting to, and popular among, visitors than we had anticipated that it would. As a result, there is reason to consider making the exhibition a fairly significant portion of your tours, particularly after “Andy Warhol’s Dream America” closes in May but before “Deborah Butterfield: Horses” opens in mid-June.

Orientation

You’ll find the exhibition in the third floor feature gallery north, where the Voces Latinas exhibition was located previously. The exhibition tells the story of Morath’s and Henri Cartier-Bresson’s trip across the country to document the filming of the 1961 film The Misfits, directed by John Huston, written by Arthur Miller, and starring Clark Gable, Marilyn Monroe, Montgomery Clift, Eli Wallach, and Thelma Ritter. Morath and Cartier-Bresson set out from New York and spent 18 days traversing the U.S., heading south and eventually west before ending in Reno in July, 1960. The exhibition is laid out chronologically and counterclockwise—that is, you’ll encounter the earliest images in their trip first (they’re in the hallway) and the final images, documenting the actual sets of the filming of The Misfits, to the left of the main portion of the gallery.

Tour Framework

Explain that the exhibition contains photography created by Inge Morath, who was given the opportunity to travel across the country to document the filming of the 1960 film The Misfits. Explain that Morath had begun her photography career in Europe in 1950-51, and then became affiliated with the Magnum Photos agency herself in 1955, with other well-known documentary photographers of the mid-twentieth century, including Robert Capa and Henri Cartier-Bresson.

Explain that Arthur Miller, who Morath married in 1962, had written the screenplay for The Misfits for his then-wife Marilyn Monroe.

Invite guests to consider the impact of Morath’s photography: how does she depict the places that she visits on her way to Reno? Does she seem to be creating a portrait of America? What kind of portrait?

Explain that Morath not only documented the trip and the sets in her photgraphy, but that she also kept a journal of type-written notes. In fact, Morath, after marrying Miller in 1962, was a prolific collaborator with her husband—they created a number of book projects together, in addition to the more than a dozen photography books of her own.

Ask guests to consider Morath’s eye for the mundane and humorous in everyday life. Do / can they get a sense of Morath’s sense of humor from her photographs? How? While humorous, even ironic at times, are they also respectful of their subjects? How can you tell?

Ask guests to look closely at the contact sheets (a reference print of film negatives produced by laying negatives directly on print paper and then exposing the paper to light, resulting in a actual-size print of the negative strip including the frame numbers which appear along the edge of the film stock). What kinds of information is documented on the contact sheets? What does it suggest about how Morath made choices about which photographs would become her final prints?

Ask guests to consider whether Morath seems to try to define her subjects with her photographs, or whether she seems to capture fleeting moments that pass quickly.