1 Lynne Warren, Encyclopedia of Twentieth-Century Photography, 3-Volume Set, New York, Routledge, 2006, p. 1152–3.
3 Naomi Rosenblum, A World History of Photography, New York, Abbeville Press, 2008, chapter 6; Mary M. Warner, Photography: A Cultural History, London, Laurence King, 2020, chapter 5.
4 Ya’ara Gil-Glazer, ‘“To put the camera back in the hands of honest photographers”: The activist pedagogy of the Photo League’, Photographies, 12/1, 2019, p. 19–44; William Stott, Documentary Expression and the 1930s, Chicago, The University of Chicago Press, 1986.
5 Lili B. Corbus, Photography and Politics in America from the New Deal into the Cold War, Baltimore, Johns Hopkins University Press, 1999, p. 123; Martha Rosler, ‘In, Around, and Afterthoughts’, in Liz Wells (ed.), The Photography Reader, New York, Routledge, 2003, p. 263.
6 Christopher Phillips, ‘The Judgment Seat of Photography’, October, 22, 1982, p. 52; M. Rosler, ‘In, Around, and Afterthoughts’, art. cité, p. 269–71.
7 L. B. Corbus, Photography and Politics in America…, op. cit., p. 219.
8 Straight photography is described in the Newhall History as the ‘esthetic use of the functional properties of the photographic technique, the appreciation of both the camera’s potentialities and its limitations, and the divorce of photography from the canons guiding the esthetic principles of other types of graphic art’ (Beaumont Newhall, The History of Photography from 1839 to the Present, New York, The Museum of Modern Art, 1938, 1949, 1964, 1982; here 1949, p. 143). It is opposed to manipulations in the photographic or printing processes as well as to pictorialist photography, in ‘seeking to render a vision of things… as they impress the imagination’, and thus no longer in ‘rivalry with painting’ (Ibid., p. 138).
10 Martin Gasser, ‘Histories of Photography 1839–1939’, History of Photography, 16, Spring 1992, p. 57.
11 L. Warren, Encyclopedia of Twentieth-Century Photography…, op. cit.
12 Nancy Newhall, From Adams to Stieglitz: Pioneers of Modern Photography, New York, Aperture, 1989.
13 Erin O’Toole, ‘Nancy Newhall and the Museum of Modern Art’, in Deborah Klochko et al., Nancy Newhall: A Literacy of Images, San Diego, Museum of Photographic Arts, 2008.
14 C. Phillips, ‘The Judgment Seat of Photography’, p. 31.
15 Peter Galassi (ed.), American Photography, 1890–1965: from the Museum of Modern Art, New York, cat. exh., New York, Museum of Modern Art, 1995 (Feb. 20-Oct. 8, 1997), H. N. Abrams, 1995, p. 30; E. O’Toole, ‘Nancy Newhall and the Museum of Modern Art’.
17 Michael Baker, Beaumont and Nancy Newhall papers [finding aid], Los Angeles, Getty Research Institute, Accession no 920060, 1843–1993 (bulk 1929–1993), http://hdl.handle.net/10020/cifa920060.
18 C. Phillips, ‘The Judgment Seat of Photography’, p. 32.
19 Douglas R. Nickel, ‘History of Photography: The State of Research’, The Art Bulletin, 83/3, September 2001, p. 552.
20 D. R. Nickel, ‘History of Photography: the State of Research’, p. 550. An earlier version of the book was in fact the catalogue of the exhibition Photography 1839–1937, published 15 months earlier. Three revised editions were published in 1949, 1964, and 1982.
21 N. Rosenblum, A World History of Photography, op. cit., p. 341.
22 Robert Hirsch, Seizing the Light: A History of Photography, Boston, McGraw-Hill Higher Education, USA, 2000, p. 340.
23 Ya’ara Gil-Glazer, ‘A new Kind of History? The Challenges of Contemporary Histories of Photography’, Journal of Art Historiography, 3, December 2010, p. 1–19.
24 Stevie Bezencenet, ‘What is a History of Photography?’, Creative Camera, 208, April 1982, p. 485; M. Gasser, ‘Histories of Photography 1839–1939’; C. Phillips, ‘The Judgment Seat of Photography’; Julian Rodriguez, ‘History Man’, British Journal of Photography, 141, January 1994, p. 11–2.
25 Y. Gil-Glazer, ‘A new Kind of History?…’.
26 Mary M. Warner, ‘What Shall we Tell the Children? Photography and its Text (Books)’, Afterimage, 13, April 1986, p. 5.
27 B. Newhall, The History of Photography, op. cit., p. 4.
28 John Raeburn, A Staggering Revolution: A Cultural History of Thirties Photography, Champaign, University of Illinois Press, 2006, p. 81.
29 C. Phillips, ‘The Judgment Seat of Photography’, p. 52.
30 According to Raeburn, the 1938 solo exhibition of Evans’ works, American Photographs, prevented another exhibition of documentary photography at the same time (J. Raeburn, A Staggering Revolution…, op. cit., p. 188). However, there was more to it than that: the emphasis in Evans’ exhibition was not on the Depression, but on the formalist-straight aspect of his photographs (Ibid., p. 179–182). In many respects, this exhibition was far from embodying the ideal described in Newhall’s article, and the lack of reference to Evans’ RA/FSA work in the press release about the exhibition further supports the assumption that Beaumont adapted himself to his employers.
31 B. Newhall, Focus: Memoirs of a Life in Photography, Boston, Bulfinch Press, 1993, p. 147.
32 B. Newhall, The History of Photography, op. cit., 1949, p. 8, 167.
35 Alan Trachtenberg, ‘Signifying the Real: Documentary Photography in the 1930s’, in Alejandro Anreus et al. (ed.), The Social and the Real: Political Art of the 1930s in the Western Hemisphere, University Park, Pennsylvania State University Press, 2006, p. 6.
36 B. Newhall, The History of Photography, op. cit., 1949, p. 183.
37 N. Newhall, From Adams to Stieglitz…, op. cit., 1989, p. 63. For more on the workshop, see Y. Gil-Glazer, ‘“To put the camera back in the hands of honest photographers”…’.
38 Walter Rosenblum, ‘Where Do We Go from Here’, The New York Public Library, 1948, accessed December 2020, web-static.nypl.org/exhibitions/league/text.html.
40 Rob Kroes, Photographic Memories: Private Pictures, Public Images, and American History, Hanover, University Press of New England, 2007, p. 136.
41 B. and N. Newhall, Masters of Photography, New York, George Braziller, 1958.
42 E. O’Toole, ‘Nancy Newhall and the Museum of Modern Art’; Alexandra Schwartz (ed.), Modern Women: Women Artists at The Museum of Modern Art, New York, The Museum of Modern Art, 2010, p. 196.
43 E. O’Toole, ‘Nancy Newhall and the Museum of Modern Art’; A. Schwartz, Modern Women…, op. cit., p. 212.
44 Patricia G. Fuller, ‘Nancy Newhall (1908–1974)’, Image, 18/1, March 1975, p. 1.
45 See Chase Clow, ‘The “Negro Book” of Ansel Adams and Nancy Newhall: Photography, Race, and Civil Rights in Early Cold War-Era America’, The International Journal of Arts Theory and History, 14/2, 2019, p. 37–50.
46 E. O’Toole, No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art, PhD thesis, The University of Arizona, 2010, p. 272.
47 Gerald H. Robinson, Elusive Truth: Four Photographers at Manzanar, Nevada, Carl Mautz, 2002.
48 C. Clow, ‘The “Negro Book” of Ansel Adams and Nancy Newhall…’, p. 39.
50 Anne Hammond, ‘Ansel Adams at Manzanar War Relocation Center, 1943–1944’, History of Photography, 30/3, Autumn 2006, p. 248.
51 N. Newhall, ‘Review of Born Free and Equal, by Ansel Adams’, Photo Notes, June 1946, p. 4.
52 E. O’Toole, No Democracy in Quality…, op. cit., p. 272.
53 Ibid., p. 274, 277, 280.
54 Jonathan Spaulding, Ansel Adams and the American Landscape: A Biography, Berkeley, University of California Press, 1998, p. 209.
55 N. Newhall, ‘The Caption: The Mutual Relation of Words/photographs’, Aperture, 1/1, 1952, p. 24.
58 Ansel Adams, Born Free and Aqual. Photographs of the Loyal Japanese-Americans at Manzanar Relocation Center, Inyo County, California, by Ansel Adams, New York, US Camera, 1944, p. 23.
59 George Hutchinson, ‘Race and the Family Romance: Whitman’s Civil War’, Walt Whitman Quarterly Review, 20/3, 2003, p. 134.
60 A. Adams, Born Free and Aqual…, op. cit., p. 59.
63 Linda Gordon, Dorothea Lange: A Life beyond Limits, W.W. Norton , 2010, p. 318.
64 Laura Wexler, ‘The Puritan in the Photograph’ in Michael P Kramer, Nan Goodman (eds.), The Turn Around Religion in America: Literature, Culture, and the ork of Sacvan Bercovitch, New York, Routledge, 2016, p. 150.
65 G. H. Robinson, Elusive Truth, op. cit.
66 N. Newhall, ‘Review of Born Free and Equal, by Ansel Adams’, Photo Notes, June 1946, p. 3–5.
67 C. Clow, ‘The “Negro Book” of Ansel Adams and Nancy Newhall…’, p. 47.
68 N. Newhall, ‘Review of Born Free and Equal’, p. 4.