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This image displays a printed article, likely a newspaper clipping or museum handout, mounted on a larger, beige or light brown sheet of paper with three punched holes along the right edge, suggesting it was stored in a binder.

The article is titled "Photography’s Creative Mind" and is written by Kathy Garrett. It is identified as PAGE TWO under the section heading Exhibits.

The text discusses an exhibition called "Newly Re-Created" at the Fogg Museum, which was on display through December 2nd (of the year 1973, as indicated by a handwritten note).

Key content of the article:

• Main Argument: The article challenges the notion that photography is merely a mechanical, uncreative process. It argues that photographers, like painters, use technique, choice, and vision to create art.
• Historical Context: It references early photographers like Lady Charles Eastlake (who dismissed photography as not art) and Josiah Hawes (whose 1855 daguerreotype of Oliver Wendell Holmes is contrasted with a calotype of a blind man for its tone and character).
• Exhibit Focus: The article reviews the "Newly Re-Created" exhibit, which showcases how photographers manipulate their medium through techniques like gum-bichromate, palladium, and platinum printing. It highlights how photographers like Ron McNeil (with his 1970 print "Tinker’s Child") and Andreas Jenson (with her "Suburban Surrender" series from 1973) use color, texture, and process to express artistic vision.
• Thesis: Garrett concludes that photography's true value lies in the "creative mind of the artist standing behind that machine," and that the exhibit proclaims the "powerful, energetic force of the creative mind."

Physical Details:

• A handwritten note in blue ink is visible at the top of the article, reading: "CRIMSON 11/29/73". This likely indicates the source ("Crimson" referring to The Harvard Crimson newspaper) and the date it was clipped or filed.
• The article is printed on aged, off-white paper and features two columns of text with standard serif font.
• The entire clipping is affixed to the larger, sturdier paper, which serves as a backing or archival support. The lighting is even, and the image is taken from a slight angle, showing the texture of both papers.

In summary, the image is a preserved artifact of art criticism from 1973, documenting and analyzing a museum exhibition that sought to redefine photography as a legitimate and creative art form.

The image shows a clipping from a publication, specifically page two of what appears to be a newspaper or magazine. The headline reads "Photography's Creative Mind." The article discusses the exhibition "Newly Re-Created" at the Fogg Museum, highlighting the creativity and artistry of photographers in various photographic techniques, including daguerreotypes, calotypes, photogravures, and cyanotypes. The text is written in a serif font, and the page is dated "11/27/73" at the top, suggesting it was written in 1973. The article mentions historical photographers like Josiah Haws and W.H. Fox Talbot, as well as contemporary artists like Ron McNeil and Judy Jacobs, emphasizing the evolution and inventiveness in photography as an art form. The article is signed by Kathy Garrett.

This image shows a printed article titled "Photography's Creative Mind," which is part of a publication labeled as "Page Two" and dated "11/27/73" with the word "Crimson" written above the date. The article is clipped and pasted onto a brown folder. The article discusses the creative aspects of photography and the exhibition "Newly Re-Created" at the Fogg Museum, which ran from November 27 to December 2, 1973.

The text explores the evolution of photography as an art form, mentioning various techniques such as daguerreotype, calotype, photogravure, gum-bichromate, platinum, palladium, and cyanotype. It references historical figures like Lady Charles Eastlake, Josiah Hawes, W.H. Fox Talbot, and discusses the works of contemporary photographers like Ron McNeil and Andrea Jennison. The article emphasizes the importance of the photographer's creative decisions in selecting and manipulating techniques to achieve desired visual effects.

The article is signed off by Kathy Garrett. There are two holes punched on the right side of the folder, suggesting it might be part of a binder or portfolio. The overall condition of the paper and the folder suggests it is an older document.

The image shows a page from a magazine or newspaper with the title "Photography's Creative Mind" at the top. The page has a beige background with a border on the left and right sides. The text is written in black font and is organized into paragraphs. The text discusses the creative aspects of photography and how photographers use their tools and techniques to create unique and artistic images. The page also includes a date of November 27, 1973, and a watermark with the word "Crimson" in the top left corner.

The image is a two-page spread from a magazine or book featuring an article titled "Photography's Creative Mind." The article discusses the evolution and creativity in photography, highlighting the shift from the mechanical process of photography to the artist's vision and skill. It mentions various photographers and their techniques, such as Lady Eastlake's use of gum-bichromate and Edward Steichen's gum-lithography. The article also touches on the use of color in photography and the importance of the photographer's mindset and skill in creating impactful images. The pages are slightly worn and have a yellowed appearance, suggesting they are from an older publication.

The image depicts a page from a publication titled "Photography's Creative Mind", dated 11/27/93. The page is labeled as PAGE TWO and is part of a section titled Exhibits. The content is a written article discussing the creative and artistic aspects of photography, with a focus on historical and contemporary techniques, materials, and the role of the photographer as an artist.

Key Details in the Image:

1. Header Information:

   • The top of the page includes the title "Photography's Creative Mind" and a date, 11/27/93, indicating when the article was published or exhibited.
   • The page is labeled as PAGE TWO and is part of a section titled Exhibits.

2. Main Text:

   • The article begins with a section titled "Newly Re-Created at the Fogg Museum now through Dec. 2", referencing an exhibit at the Fogg Museum.
   • The text explores the creative process in photography, emphasizing that photography requires more than just technical skill—it demands artistic vision and ingenuity.
   • It discusses the evolution of photography from its early days to modern practices, highlighting the importance of materials like gum-bichromate, platinum, palladium, and cyanotype.
   • The article references historical photographers such as Oliver Wendell Holmes and W.H. Fox Talbot, illustrating how early photographers used innovative techniques to achieve unique effects.
   • It also mentions contemporary photographers like Ron McNeill, who uses techniques such as wiping his subject matter before printing to create striking visual effects.

3. Visual and Artistic Elements:

   • The text emphasizes the visual impact of photography, discussing how photographers manipulate light, contrast, and materials to convey emotion and meaning.
   • It touches on the mythical quality of certain photographs, such as the 1972 print of "Tinker’s Child", which evokes a sense of mystery and intrigue.
   • The article also critiques the creative mind of photographers, noting that their work often transcends mere technical proficiency to become an expression of artistic vision.

4. Photographic Techniques:

   • The article delves into various photographic processes, such as gum-bichromate and cyanotype, explaining how these techniques allow photographers to achieve unique textures, tones, and effects.
   • It highlights the versatility of photography, noting that it can be used to capture everything from everyday scenes to abstract concepts.

5. Quotes and References:

   • The article includes a quote attributed to Kathy Garrett, which reads:

     "Exhibition of that year. The anonymous photographer uses the blue color only for value, and pays no attention to the fact that he is printing white on blue rather than the more usual blue on white. But, by our own time, photographers have turned this novelty into an aesthetic form... Suburban Surrounded" (red, 1973) contrasts the blue with added tones of green and orange that heighten the visual impact of her work. And Judy Woods pays homage to the use of white line on blue. She makes her background to cloth, and the texture of her canvas or gauze is visualized in the contrast of her line."

6. Design and Layout:

   • The page has a clean, typed layout with clear headings and paragraphs.
   • The text is presented in a serif font, giving it a formal and academic tone.
   • The page appears to be part of a larger publication or exhibition catalog, as indicated by the structured format and the inclusion of specific dates and references.

Overall Impression:

The image shows a thoughtful and detailed exploration of photography as an art form, blending historical context with contemporary practice. It emphasizes the creative potential of photography, the importance of technique, and the role of the photographer as an artist who manipulates materials and light to convey meaning and emotion. The article serves as both an educational piece and a celebration of photographic creativity.

This image shows a newspaper or magazine clipping mounted on a brown paper background, with a visible hole punch on its right side (suggesting that it was inserted into a binder or folder). The clipping is titled "Photography's Creative Mind" and appears to be an article discussing the evolution and artistic nature of photography. It references an exhibition and includes commentary on historical photographs and techniques, as well as the photographer's creative decisions. Written in the top margin of the image is text ("CRIMSON 11/27/73"), suggesting the source and date of the publication.

The image shows a page, apparently from a publication, mounted on a brown cardboard background. The page is headlined "Photography's Creative Mind" and it includes printed text arranged in two columns. The overall layout resembles a newspaper or magazine article.

The article seems to be discussing the concept of creativity within photography, referencing historical figures and practices in the art of photography. It makes a case for photography as a form of artistic expression, going beyond mere technical ability to embody a "creative mind."

Specifically, the text references a recent exhibition at a museum, presumably where this text could have been displayed. The article features a date, "11/27/73," perhaps indicating when it was written or published. While it's not possible to read the entire text in detail due to the resolution of the image, the visible portions discuss aspects like the history of photography, the evolution of the photographer's role, and notions of expression and creativity within the medium.

The bottom of the page has a byline with the author's name—Kathy Garrett—indicating that she is responsible for the text of the article.

On the cardboard mounting, there are annotations on the top left that read "PAGE TWO Exhibits" and on the top in handwriting "crimson 11/27/73," which could indicate that this article came from the "crimson" on the specified date. There's also a black push-pin in the top right corner securing the article to the cardboard.

This image shows a newspaper clipping titled "Photography’s Creative Mind." It appears to be a review or article about an exhibit at the Fogg Museum called "Newly Re-Created," which runs through December 2. The article discusses the artistic qualities and evolution of photography as an art form, emphasizing the creativity and ingenuity of photographers over time. It references multiple photographic techniques and historical examples, such as Josiah Haws's 1855 daguerreotype and Edward Steichen's gum-biochromate process. The article also highlights the positive impact of photographers experimenting with new methods and the vibrant developments in photographic styles and subject matter. The handwritten note at the top indicates the source as "Crimson," with the date "11/27/73." The article is authored by Kathy Garrett. The clipping is attached to a plain brown sheet of paper with a visible punched hole on the right side.

The image shows a vintage newspaper clipping mounted on a brown scrapbook page. The clipping is titled “Photography’s Creative Mind” in a large bold header and is labeled “PAGE TWO Exhibits” at the top left. There is a handwritten note at the very top that reads something like “CRIMSON 4/27/73.” The article is printed in multiple narrow columns and discusses an exhibition related to photography, including a caption “Newly Re-Created at the Fogg Museum now through Dec 2” and a byline (likely Kathy Garrett). The page has a yellowed, aged look, with two small punched holes along the left edge of the cardstock and a large gray blank area on the lower right where something is missing. Overall, it’s a historical scrapbook-style artifact about photography and art exhibitions.