COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1989.446.f
amicoid
CMA_.1989.446.f
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Photographs
oty
Photographs
Object Type
false
Creator Name:
Michals, Duane
crn
Michals, Duane
Creator Name
false
Creator Nationality:
North American; American
crc
North American; American
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1932
cdt
1932
Creator Dates/Places
false
Biography:
Duane Michals American, 1932-Although believing reality to be invisible, Duane Michals has used his camera to give photographic credulity to myths, fantasy, spirits, and dreams. His innovative narrative sequences question nothing less than the nature of truth. Michals (born in McKeesport, Pennsylvania) studied at the University of Denver (B.A., 1953) and Parsons School of Design in New York (1956?57). Self-taught as a photographer, he made his first portraits in 1958 while on a trip to Russia and established himself commercially upon returning to New York City. He has continued to maintain an active commercial freelance career, completing assignments for Vogue, Esquire, Mademoiselle, Horizon, and Scientific American magazines. In 1964 Michals began making personal images; his earliest scenes included empty cafes, buses, stores, and laundromats. Two years later, he started his first sequence. Influenced by surrealist painters such as Rene Magritte and Giorgio de Chirico, Michals addresses sexuality, death, and spirituality in open-ended narratives, relying on the artifice of drama to straddle the line between fact and fiction. Devices such as multiple exposures and blurred focus add to his witty questioning of photographic veracity. In 1971 he began to accompany his sequences with handwritten texts, presenting series geared to the book form. Michals's major publications include Sequences (1970), The Journey of the Spirit after Death (1971), Things Are Queer (1973), Chance Meeting (1973), Paradise Regained(1973), Take One and See Mount Fujiyama and Other Stories (1976), Real Dreams (1977), Homage to Cavafy: Ten Poems by Constantine Cavafy/Ten Photographs by Duane Michals (1978), and Upside Down, Inside Out and Backwards (1993). His work has been shown internationally, with one-person exhibitions at the Museum of Modern Art, New York (1970), the Museum für Kunst und Gewerbe, Hamburg (1989, European tour), and the Museum of Photographic Arts, San Diego (1990, national tour). Michals has received a New York Creative Artists Public Service Grant (1975), fellowships from the National Endowment for the Arts (1976) and the Pennsylvania Council of the Arts (1978), the Medaille de Vermeil de la Ville de Paris (1982), the International Center of Photography InfinityAward for Art (1991), an Honorary Fellowship from the Royal Photographic Society, Bath (1992), the Century Award from the Museum of Photographic Arts, San Diego (1993), and a gold medal for photography from the National Arts Club, New York (1994). He taught as the Meadows Distinguished Visiting Professor at Southern Methodist University (1989) and received an honorary doctorate of fine arts from the Art Institute of Boston (1993). Michals lives in New York. A.W.
crb
Duane Michals American, 1932-Although believing reality to be invisible, Duane Michals has used his camera to give photographic credulity to myths, fantasy, spirits, and dreams. His innovative narrative sequences question nothing less than the nature of truth. Michals (born in McKeesport, Pennsylvania) studied at the University of Denver (B.A., 1953) and Parsons School of Design in New York (1956?57). Self-taught as a photographer, he made his first portraits in 1958 while on a trip to Russia and established himself commercially upon returning to New York City. He has continued to maintain an active commercial freelance career, completing assignments for Vogue, Esquire, Mademoiselle, Horizon, and Scientific American magazines. In 1964 Michals began making personal images; his earliest scenes included empty cafes, buses, stores, and laundromats. Two years later, he started his first sequence. Influenced by surrealist painters such as Rene Magritte and Giorgio de Chirico, Michals addresses sexuality, death, and spirituality in open-ended narratives, relying on the artifice of drama to straddle the line between fact and fiction. Devices such as multiple exposures and blurred focus add to his witty questioning of photographic veracity. In 1971 he began to accompany his sequences with handwritten texts, presenting series geared to the book form. Michals's major publications include Sequences (1970), The Journey of the Spirit after Death (1971), Things Are Queer (1973), Chance Meeting (1973), Paradise Regained(1973), Take One and See Mount Fujiyama and Other Stories (1976), Real Dreams (1977), Homage to Cavafy: Ten Poems by Constantine Cavafy/Ten Photographs by Duane Michals (1978), and Upside Down, Inside Out and Backwards (1993). His work has been shown internationally, with one-person exhibitions at the Museum of Modern Art, New York (1970), the Museum für Kunst und Gewerbe, Hamburg (1989, European tour), and the Museum of Photographic Arts, San Diego (1990, national tour). Michals has received a New York Creative Artists Public Service Grant (1975), fellowships from the National Endowment for the Arts (1976) and the Pennsylvania Council of the Arts (1978), the Medaille de Vermeil de la Ville de Paris (1982), the International Center of Photography InfinityAward for Art (1991), an Honorary Fellowship from the Royal Photographic Society, Bath (1992), the Century Award from the Museum of Photographic Arts, San Diego (1993), and a gold medal for photography from the National Arts Club, New York (1994). He taught as the Meadows Distinguished Visiting Professor at Southern Methodist University (1989) and received an honorary doctorate of fine arts from the Art Institute of Boston (1993). Michals lives in New York. A.W.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
McKeesport, PA
cbp
McKeesport, PA
Creator Birth Place
false
Creator Name-CRT:
Duane Michals
crt
Duane Michals
Creator Name-CRT
false
Title:
Paradise Regained
otn
Paradise Regained
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1968
oct
1968
Creation Date
false
Creation Start Date:
1968
ocs
1968
Creation Start Date
false
Creation End Date:
1968
oce
1968
Creation End Date
false
Materials and Techniques:
gelatin silver print
omd
gelatin silver print
Materials and Techniques
false
Classification Term:
Photography
clt
Photography
Classification Term
false
Dimensions:
Sheet: 12.6cm x 17.8cm, Image: 8.6cm x 12.7cm
met
Sheet: 12.6cm x 17.8cm, Image: 8.6cm x 12.7cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1989.446.f
ooa
1989.446.f
ID Number
false
Credit Line:
Gift of Museum members in 1989
ooc
Gift of Museum members in 1989
Credit Line
false
Inscriptions:
Written in ink on recto: "6 / Duane Michals [signed] IV/V"
oin
Written in ink on recto: "6 / Duane Michals [signed] IV/V"
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Convinced that photography cannot represent reality, Michals describes the human condition through a combination of symbolism, metaphor, and narrative. In this sequence of staged images, the material possessions of a man and woman, who recall Adam and Eve in Paradise, are gradually replaced by plants. Warning the viewer that one's identity cannot be defined through worldly possessions, Michals suggests the couple's transformation into purer, more natural beings.
cxd
Convinced that photography cannot represent reality, Michals describes the human condition through a combination of symbolism, metaphor, and narrative. In this sequence of staged images, the material possessions of a man and woman, who recall Adam and Eve in Paradise, are gradually replaced by plants. Warning the viewer that one's identity cannot be defined through worldly possessions, Michals suggests the couple's transformation into purer, more natural beings.
Context
false
Related Image Identifier Link:
CMA_.1989.446.f.tif
ril
CMA_.1989.446.f.tif
Related Image Identifier Link
false