Additional Resources and Information on Imogen Cunningham

ADDITIONAL RESOURCES AND INFORMATION 

 

  • Adams, Ansel, with Mary Street Alinder. An Autobiography. Boston: New York Graphic Society, 1985.
  • Beaton, Cecil, and Gail Buckland. The Magic Image: The Genius of Photography from 1839 to the Present Day. Boston: Little, Brown, 1975.
  • Diverse Images: Photographs from The New Orleans Museum of Art. Garden City, N. Y.: Amphoto, 1979.
  • Duval, Jean-Luc. Photography: History of an Art. Geneva: Skira; New York: Rizzoli, 1982.
  • Ewing, William A. Flora Photographica: Masterpieces of Flower Photography 1835 to the Present. New York: Simon and Schuster, 1991.
  • Ewing, William A. The Fugitive Gesture: Masterpieces of Dance Photography. London: Thames and Hudson, 1987.
  • Gee, Helen. Photography of the Fifties: An American Perspective. Tucson, Ariz.: Center for Creative Photography, University of Arizona, Tucson, 1980.
  • Graham, Martha. Blood Memory. New York: Doubleday, 1991.
  • Green, Jonathan, ed. Camera Work: A Critical Anthology. Millerton, N. Y.: Aperture, 1973.
  • Gruber, Renate, and L. Fritz. The Imaginary Photo Museum. New York: Harmony Books, 1981.
  • Hively, William. Nine Classic California Photographers. Berkeley, Calif.: Friends of the Bancroft Library, 1980. 
  • Homer, William Innes. Alfred Stieglitz and the Photo-Secession. Boston: New York Graphic Society, 1983.
  • Katzman, Louise. Photography in California 1945-1980. New York: Hudson Hills Press and San Francisco Museum of Modern Art, 1984.
  • Köhler, Michael. Ansichten vom Körper: Das Aktfoto 1840-1985. Schaffhausen: Edition Stemmle, 1986.
  • Language of Light: A Survey of the Photography Collection of the University of Kansas Museum of Art. Lawrence, Kansas: University of Kansas Museum of Art, 1974.
  • Lechat, Marie. Imogen Cunningham: Le portrait dans la photographie. Master's thesis, Université Libre de Bruxelles, Faculté de Philosophie et Lettres, 1978.
  • Lemagny, Jean-Claude, and André Rouillé. A History of Photography. Trans. Janet Lloyd. Cambridge: Cambridge University Press, 1986.
  • The Male Nude. Tokyo: Treville, 1991.
  • Mann, Margery. California Pictorialism. Exh. cat. San Francisco: San Francisco Museum of Modern Art, 1977.
  • Modern Photography and Beyond: Photographs in the Collection of The National Museum of Modern Art, Kyoto. Kyoto: National Museum of Modern Art, 1987.
  • Nordland, Gerald. Ruth Asawa: A Retrospective View. Exh. cat. San Francisco: San Francisco Museum of Art, 1973.
  • Photography as a Fine Art. New York: E. P. Dutton, 1983.
  • Portraits. London: Thames and Hudson, 1983.
  • Pultz, John, and Catherine B. Scallen. Cubism and American Photography, 1910-1930. Exh. cat. Williamstown, Mass.: Sterling and Francine Clark Art Institute, 1981.
  • The Quillan Collection of Nineteenth and Twentieth Century Photographs. New York: Quillan Company Ltd., 1991.
  • Ratcliff, Carter. "Tableau Photography: From Mayall to Rodan, Its Roots and Its Reason." Picture 18 (1981), pp. 4-47.
  • Richardson, Diana Edkins, and John Russell. Vanity Fair: Photographs of an Age 1914-1936. New York: Clarkson N. Potter, 1982.
  • Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press, 1984.
  • Sandweiss, Martha A. Masterworks of American Photography: The Amon Carter Museum Collection. Birmingham, Ala.: Oxmoor House, 1982.
  • Sobieszek, Robert A. Masterpieces of Photography from the George Eastman House Collection. New York: Abbeville Press, 1985.
  • Sullivan, Constance. Legacy of Light. New York: Alfred Knopf, 1987.
  • Sullivan, Constance. Nude Photographs, 1850-1980. N. Y.: Harper and Row, 1980.
  • Sullivan, Constance. Women Photographers. New York: Harry N. Abrams, 1990.
  • Szarkowski, John. Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art. New York: The Museum of Modern Art, 1973.
  • Thornton, Gene. Masters of the Camera: Stieglitz, Steichen and Their Successors. N. Y.: Holt, Rinehart and Winston, 1976.
  • U. S. Camera 1939. New York: William Morrow, 1939. (statement by Cunningham)
  • Weston, Edward. The Daybooks of Edward Weston. Vols 1-2. Ed. Nancy Newhall. Millerton, N. Y.: Aperture, 1973.
  • White, Anthony R. The Graphic Art of Roi Partridge: A Catalogue Raisonné. Los Angeles: Hennessey and Ingalls, 1988.
  • Witkin, Lee. A Ten Year Salute. Danbury, N. H.: Addison House, 1979.
  • Witkin, Lee, and Barbara London. The Photograph Collector's Guide. Boston: New York Graphic Society, 1979.
  • Ewig, Coni. Grosses Modernes Lexikon. Gutersloh: Lexikothek Verlag, 1983.
  • International Center of Photography: Encyclopedia of Photography. New York: Crown Publishers, 1984.
  • Lewinski, Jorge. A History of Nude Photography: The Naked and the Nude. London: Weidenfield & Nicolson, 1987.
  • Whitman, Walt. From This Soil: Selected Poems by Walt Whitman. San Francisco: The Nature Company, 1993.
  • Rev. of Imogen Cunningham: Die Poesie der Form. Introduction by Pradip Malde. Schwarzweiss, 3. Germany: 1993, pp. 10-15.
  • Ewing, William A. The Body: Photoworks of the Human Form. London: Thames and Hudson, 1994. 
  • Precisionism in America: 1915-1941: Reordering Reality. New York: Harry N. Abrams; New Jersey: The Montclair Museum, 1994.
  • Stendhal, Renate, ed. Gertrude Stein In Words and Pictures: An Photobiography. Chapel Hill: Algonquin Books of Chapel Hill, 1994.
  • "Camera at Work." Life, September 1994, p. 30.
  • "Planter og Blomster: Plants and Flowers." Katalog: Kvartalstidsskrift for Fotografi. March 1994, p. 29.
  • Davis, Keith F. An American Century of Phototgraphy: From Dry Point to Digital: The Hallmark Photographic Collection. New York: Harry N. Abrams, Inc., 1995.
  • Alinder, Mary Street. Group f.64. New York, NY. Bloomsbury Publishing, Plc. 2014.