Barbara Bosworth, The Forest, Novelty (El bosque, Novedad), 2008. Impresión a inyección de tinta, 31 x 73 1/2 pulg. Denver Art Museum: Donación de la artista, 2016.256 © Barbara Bosworth.

Barbara Bosworth, The Forest, Novelty (El bosque, Novedad), 2008. Impresión a inyección de tinta, 31 x 73 1/2 pulg. Denver Art Museum: Donación de la artista, 2016.256 © Barbara Bosworth.

White splotches against a black backdrop

Collection Highlights

Explore objects from the Photography department in our online collection.

Obras destacadas de la colección

Frank Jay Haynes

Cinnabar Mountain, Devil's Slide

The nominal subject of this photograph is the steep, slide-swept track on the mountain in the distance. Yet Haynes chose to include the empty land in front of it and the railroad tracks that cut across the ground and connect near with far. Haynes belonged to an early generation of photographers who sought to understand and describe the West both for themselves and for far-flung audiences who would never see it.

Frank Jay Haynes, Cinnabar Mountain, Devil's Slide, 1885. Albumen silver print; 17 1/4 x 21 1/2 inches. The Daniel Wolf Landscape Photography Collection at the Denver Art Museum: Funds from Mr. and Mrs. George G. Anderman, Nancy L. Benson, Florence R. and Ralph L. Burgess Trust, 1990 Collectors' Choice, J. Rathbone Falck, General Service Foundation, Mr. and Mrs. William D. Hewit, Mr. and Mrs. Edward H. Leede, Pauline A. and George R. Morrison Trust, Frederick and Jan Mayer, Newmont Mining Corporation, O'Shaughnessy Fund, Volunteer Endowment Fund, Ginny Williams, Estelle Wolf, anonymous donors, and the generosity of our visitors, with additional support from the voters who created the Scientific and Cultural Facilities District; 1991.108

Richard Misrach

Wall, Near Los Indios, Texas

Richard Misrach, Wall, Near Los Indios, Texas, 2015. Pigmemt print; 64 x 84 inches. Denver Art Museum: Funds from Frederic H. Douglas by exchange, 2019.29 © Richard Misrach

Matthew Brandt

Lake Isabella CA TC 2

Matthew Brandt, Lake Isabella CA TC 2, 2014. Three unique chromogenic prints soaked in Lake Isabella water; Each element: 91 13/16 x 65 in. Denver Art Museum: Funds from Frederic H. Douglas by exchange, 2018.268A-C © Matthew Brandt

Barbara Bosworth

The Forest, Novelty from the series Grapevines, crabapples and a bit of blue sky

Barbara Bosworth, The Forest, Novelty, 2008. Inkjet print; 31 x 73 1/2 inches. Denver Art Museum: Gift of the artist, 2016.256 © Barbara Bosworth

Uta Barth

Ground (95.4)

Uta Barth, Ground (95.4), 1995. Chromogenic color print; 24 x 19 inches. Denver Art Museum: Gift of Polly and Mark Addison, 2010.437. Courtesy the artist and Tanya Bonakdar Gallery, New York. © Uta Barth

 

Charlestown, from the series Ghost Estates

Valérie Anex

Charlestown, from the series Ghost Estates

Valérie Anex, Charlestown, from the series Ghost Estates, 2011. Inkjet print; 23 2/3 x 35 3/8 inches. Denver Art Museum: Funds from Frederic H. Douglas by exchange, 2018.142 © Valérie Anex

De Lancey Gill

Portrait of John Temple Collins

De Lancey Gill, Portrait of John Temple Collins, October 1899. Platinum print; 7 7/8 x 6 inches. Denver Art Museum: Transferred from the Native Arts archive to the permanent collection, 2014.88

Mike Smith

Watauga, Tennessee

Mike Smith, Watauga, Tennessee, 2014. Inkjet print; 35 1/2 x 28 1/2 inches. Denver Art Museum: Funds from an anonymous donor, 2016.269 © Mike Smith

Will Wilson

Melanie Yazzie

Will Wilson, Melanie Yazzie, 2013. Inkjet print; 49 1/2 x 39 1/2 inches. Denver Art Museum: Gift of Polly and Mark Addison, 2015.262. © Will Wilson

Laura Letinsky

Untitled #7

Laura Letinsky, Untitled #7, from the series Fall, 2009. Inkjet print; 32 5/8 x 50 inches. Denver Art Museum: Funds from the Photography Acquisitions Alliance, 2015.264 © Laura Letinsky

Jaromír Funke

Composition Abstraction

Jaromír Funke, Composition Abstraction, 1922. Gelatin silver print; 8 1/2 x 11 1/2 inches. Denver Art Museum: Partial gift of David and Sheryl Tippit and funds from the National Endowment for the Arts by exchange, 1998.222.

Andrea Modica

Human Being: C18 Male, 36 years

Andrea Modica, Human Being: C18 Male, 36 years, 1999. Platinum-Palladium print; 8 x 10 inches. The A. E. Manley Photography Collection at the Denver Art Museum, 2014.242 © Andrea Modica

Department Staff

Eric Paddock, Curator of Photography

Eric Paddock has been Curator of Photography at the Denver Art Museum since 2008. In that capacity, he has presented 17 exhibitions, including portraits of refugees and marginalized people in Common Ground: Photographs by Fazal Sheikh and New Territory: Landscape Photography Today, a survey of contemporary landscape photography that emphasized experimental work. A fifth generation Coloradoan, he graduated from Colorado College and was assistant to photographer Frank Gohlke for three years before he entered the master of fine arts photography program at Yale University. He was curator of photography and Film at the Colorado Historical Society (now History Colorado) from 1983 to 2008.

Kimberly Roberts, Curatorial Associate

Kimberly Roberts is the Curatorial Associate in the department of photography at the Denver Art Museum. Prior to joining the museum in 2017, she was a research fellow at the Clyfford Still Museum where she researched the photography collection in the museum archives. Kimberly has given public lectures at the Denver Art Museum, Colorado State University Art Museum, Clyfford Still Museum, and has been an affiliate art history faculty member at Metropolitan State University since 2013, teaching courses in the history of photography and 20th/21st century European and American art. She received a bachelor's in art history from Colorado State University and a master's in art history with an emphasis on photography from Tufts University.

Danielle Stephens, Senior Interpretive Specialist
As a Senior Interpretive Specialist in the department of Learning and Engagement at the Denver Art Museum, Danielle Stephens specializes in the development of interpretive materials for the museum’s collections and special exhibitions. This includes labels, audio guides, videos, and participatory experiences that encourage visitors to create, share, and connect with each other and the work on view. She also hosts community advisory committees, conducts visitor evaluations, trains volunteer docents, leads gallery tours, and works with cross-departmental staff to deliver live programming related to the collection.

Since joining the DAM in 2013, Danielle has served as the interpretation lead for Modern Women, Modern Visions: Works from the Bank of America Collection, New Territory: Landscape Photography Today and Common Ground: Photographs by Fazal Sheikh, 1989-2013. Prior to the DAM, Danielle worked as the Docent Program Manager at the Museum of Fine Arts, Houston and the Education Curator at the Aspen Art Museum. Danielle has her bachelor of fine arts from the University of Oklahoma in art history and photography, and a master’s in art history from Southern Methodist University.

Historia del departamento

La biblioteca y hasta ocho departamentos curatoriales del Denver Art Museum coleccionaron fotografía hasta 2008, cuando se estableció el Departamento de Fotografía para aportar pericia y una visión global al cuidado y desarrollo de la colección de fotografía. La “prehistoria” del departamento, que se extiende desde 1937 a 2007, resultó en la unión de una abundante colección de obras maestras con instantáneas de referencia y copias obtenidas de repositorios gubernamentales y académicos. Los puntos fuertes de la colección son la fotografía paisajística estadounidense de 1860 al presente, la fotografía modernista abstracta y experimental desde 1915 a 1965 y la fotografía contemporánea de artistas locales e internacionales. Entre estos fondos, destaca la obra de Robert Adams, Danny Lyon y Garry Winogrand, así como importantes fotografías de Barbara Bosworth, Matthew Brandt, Manuel Álvarez Bravo, Dorothea Lange, Abelardo Morell, Lorna Simpson y Paul Strand.

Lewis Story, que más tarde se desempeñaría como subdirector del museo y en dos ocasiones como director provisional, inauguró un sólido programa expositivo de fotografía en 1971. Durante la siguiente década, el museo recibió becas de la fundación General Services Foundation, que respaldaron las exposiciones de fotografía e hicieron posible la adquisición de obras de maestros del siglo XX tales como Ansel Adams, Imogen Cunningham y Diane Arbus. Ted Strauss, curador adjunto de fotografía, intensificó el programa en las décadas de 1980 y 1990 con una serie de exposiciones, entre ellas Lens and Landscape: American Photography 1860–1910 (Lente y paisaje: fotografía estadounidense 1860–1910), Experimental Vision: The Evolution of the Photogram Since 1919 (Visión experimental: la evolución del fotograma desde 1919) y The Eye & the Hand of Lucas Samaras (El ojo y la mano de Lucas Samaras).

Tras la partida de Strauss en 1994, los miembros del personal del Departamento de Arte Moderno y Contemporáneo —Dianne Vanderlip, Jane Fudge y Blake Milteer— continuaron montando exposiciones y coleccionando fotografía, pero no fue sino hasta 2010 que el Departamento de Fotografía abrió su primera sala especializada, con el apoyo de Delisa y Anthony Mayer y con Eric Paddock como el primer curador de fotografía a tiempo completo del museo.

Hoy en día, la colección ha crecido para incluir importantes fotografías contemporáneas, así como obras fundamentales de los siglos XIX y XX. Las generosas donaciones de Joyce y Ted Strauss ampliaron la colección antes de la creación del departamento, al igual que las importantes donaciones y apoyo de Nancy Benson y I. J. y Gertrude Shore. La adquisición en 1991 de la Colección Daniel Wolf de fotografía del siglo XIX por parte del museo fue transformadora, ya que añadió obras distintivas de William H. Bell, Alexander Gardner, William Henry Jackson y Timothy O’Sullivan. Más recientemente, la Photography Acquisitions Alliance ha respaldado adquisiciones concretas que proporcionarán un contexto histórico más completo para todas las obras de la colección y que inspirarán futuras exposiciones.

Publicaciones

Companion Guide to the Strauss Photography Collection at the Denver Art Museum (Guía complementaria para la Colección de Fotografía Strauss del Denver Art Museum). Eric Paddock. Denver Art Museum, 2014.

Walking Magpie: On and Off the Leash (Paseando a Magpie: Con y sin correa). Eric Paddock. Denver Art Museum en colaboración con George F. Thompson Publishing, 2013.

Robert Benjamin: Notes from a Quiet Life (Robert Benjamin: apuntes sobre una vida tranquila). Eric Paddock. Denver Art Museum en colaboración con Radius Books, 2012.

Robert Adams, Prairie (Robert Adams, Pradera). Eric Paddock. Denver Art Museum en colaboración con la Galería Fraenkel, 2011.