The first thorough survey of the influential photographer in more than 35 years is now showing at the Getty.
Photographing a magnolia blossom, Imogen Cunningham once said, was “the most common job I ever did.”
Cunningham photographed the flower in 1925, and she printed the negative many times in the following years. It appealed, she said, to conservative buyers, many of whom saw it on almost continuous exhibition at New York’s Museum of Modern Art.Conservative or not, those buyers seem to have been responding intuitively to a feature that recurs throughout the nearly seven decades she worked. The warmth, tenderness and closeness — the intimacy — she constructed for the subject is front and center.
That renunciation of — or at least indifference to — officially sanctioned or expected experience seems to me a constant operating guide to her otherwise diverse output. It’s idiosyncratic. Cunningham’s career is usually divided into two phases. First came her association with Pictorialism, in which photographs aspired to a visual relationship with traditional painting. Next is Group f/64, a collective that supported a Modernist vision, which she co-founded in 1932 with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke and Edward Weston.
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