Photography

The millions of photographs in the Museum's collections compose a vast mosaic of the nation's history. Photographs accompany most artifact collections. Thousands of images document engineering projects, for example, and more record the steel, petroleum, and railroad industries.

Some 150,000 images capture the history, art, and science of photography. Nineteenth-century photography, from its initial development by W. H. F. Talbot and Louis Daguerre, is especially well represented and includes cased images, paper photographs, and apparatus. Glass stereographs and news-service negatives by the Underwood & Underwood firm document life in America between the 1890s and the 1930s. The history of amateur photography and photojournalism are preserved here, along with the work of 20th-century masters such as Richard Avedon and Edward Weston. Thousands of cameras and other equipment represent the technical and business side of the field.

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.089
catalog number
1998.0139.089
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.054
catalog number
1998.0139.054
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1965
date printed
1997
maker
Law, Lisa
ID Number
1998.0139.028
catalog number
1998.0139.028
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.077
catalog number
1998.0139.077
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.050
catalog number
1998.0139.050
accession number
1998.0139
This Canon AE-1 35mm camera is a 1990s version of the popular Japanese electronically-controlled automatic single lens reflex camera first introduced in 1976.
Description
This Canon AE-1 35mm camera is a 1990s version of the popular Japanese electronically-controlled automatic single lens reflex camera first introduced in 1976. Popular among amateurs, this light plastic camera was an important success for Canon against its many camera competitors in Japan and the United States.
From its invention in 1839, the camera has evolved to fit many needs, from aerial to underwater photography and everything in between. Cameras allow both amateur and professional photographers to capture the world around us. The Smithsonian’s historic camera collection includes rare and unique examples of equipment, and popular models, related to the history of the science, technology, and art of photography.
date made
ca 1990s
maker
Canon
ID Number
2004.0061.01
accession number
2004.0061
catalog number
2004.0061.01
Steve Jobs preparing presentation at MacWorld Expo, Boston, Massachusetts, August 1997. (Jobs with Bill Gates on large screen.)Currently not on view
Description (Brief)
Steve Jobs preparing presentation at MacWorld Expo, Boston, Massachusetts, August 1997. (Jobs with Bill Gates on large screen.)
Location
Currently not on view
date made
1997-08
depicted (sitter)
Jobs, Steven Paul
Gates, Bill
maker
Walker, Diana
ID Number
2003.0250.126
accession number
2003.0250
catalog number
2003.0250.126
Currently not on view
Location
Currently not on view
Date made
1992
maker
Marrus, David E.
ID Number
2007.0066.01
accession number
2007.0066.01
catalog number
2007.0066
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1969-08-15
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.155
catalog number
1998.0139.155
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.081
accession number
1998.0139
catalog number
1998.0139.081
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1968
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.056
catalog number
1998.0139.056
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1969-08-16
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.156
catalog number
1998.0139.156
accession number
1998.0139
Gelatin Silver Print by Charles Rushton of Mark Nohl, 1992.Black and white portrait of a man sitting on a rockface with one leg stretched out and the other bent under his body. He is wearing jeans, boots and a button-up shirt with the sleeves slightly rolled.
Description (Brief)
Gelatin Silver Print by Charles Rushton of Mark Nohl, 1992.
Black and white portrait of a man sitting on a rockface with one leg stretched out and the other bent under his body. He is wearing jeans, boots and a button-up shirt with the sleeves slightly rolled. He has a pen in one breast pocket, is wearing his sunglasses on a cord around his neck and is holding a camera in his hands. Recto: signed, titled and dated by artist.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1992
maker
Rushton, Charles R.
ID Number
2008.0178.27
catalog number
2008.0178.27
accession number
2008.0178
White House staff, protocol placement for indoor State Arrival Ceremony, February 5, 1998.Currently not on view
Description (Brief)
White House staff, protocol placement for indoor State Arrival Ceremony, February 5, 1998.
Location
Currently not on view
date made
1998-02-05
maker
Walker, Diana
ID Number
2003.0250.080
catalog number
2003.0250.080
accession number
2003.0250
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1965
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.029
catalog number
1998.0139.029
accession number
1998.0139
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.057
catalog number
1998.0139.057
accession number
1998.0139
Currently not on view
Location
Currently not on view
Date made
1993
maker
Caponigro, John Paul
ID Number
2005.0096.04
accession number
2005.0096
catalog number
2005.0096.04
Currently not on view
Location
Currently not on view
date made
1997
maker
Weingarten, Robert I.
ID Number
2017.0338.0007
accession number
2017.0338
catalog number
2017.0338.0007
Inkjet Print by Charles Rushton of Robert Shlaer, 1994.Black and white portrait of an old man standing with his arms crossed in front of a large rock. He is wearing a pinstripe button up shirt with his sleeves rolled and suspenders.
Description (Brief)
Inkjet Print by Charles Rushton of Robert Shlaer, 1994.
Black and white portrait of an old man standing with his arms crossed in front of a large rock. He is wearing a pinstripe button up shirt with his sleeves rolled and suspenders. He has a full long beard and is wearing glasses. To the left trees and smaller rocks are visible and there is an old camera on a tripod. Recto: signed, titled and dated by artist.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1994
print made
2008
maker
Rushton, Charles R.
ID Number
2008.0178.33
catalog number
2008.0178.33
accession number
2008.0178
Gelatin silver print by Charles Rushton of Miguel Gandert, 1993.Black and white portrait of middle aged dark haired man standing with his hands on his hips. The man has a full, short beard, moustache and wears glasses.
Description (Brief)
Gelatin silver print by Charles Rushton of Miguel Gandert, 1993.
Black and white portrait of middle aged dark haired man standing with his hands on his hips. The man has a full, short beard, moustache and wears glasses. He is wearing light colored pants and a light colored long sleeved button up collared shirt. He also is wearing a camera by a strap around his neck. Behind him are two doors and two walls covered in graffiti. The ground is concrete slabs with a step leading down into a dirt area in front of the doors. Recto: signed, titled and dated by artist.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1993
depicted (sitter)
Gandert, Miguel
maker
Rushton, Charles R.
ID Number
2008.0178.10
catalog number
2008.0178.10
accession number
2008.0178
Gelatin Silver Print by Charles Rushton of Charles Palmer, 1992.Black and White portrait of middle aged man with a dark moustache sitting, looking towards the viewer wearing a light colored button up collared shirt. Behind him is a piano with black keys and the top propped open.
Description (Brief)
Gelatin Silver Print by Charles Rushton of Charles Palmer, 1992.
Black and White portrait of middle aged man with a dark moustache sitting, looking towards the viewer wearing a light colored button up collared shirt. Behind him is a piano with black keys and the top propped open. Recto: signed, titled and dated by artist.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1992
maker
Rushton, Charles R.
ID Number
2008.0178.28
catalog number
2008.0178.28
accession number
2008.0178
Gelatin Silver Print by Charles Rushton of Rolf Koppel, 1992.Black and white portrait of a man standing against an exterior wall. The man is wearing a light colored t-shirt, jeans and a belt.
Description (Brief)
Gelatin Silver Print by Charles Rushton of Rolf Koppel, 1992.
Black and white portrait of a man standing against an exterior wall. The man is wearing a light colored t-shirt, jeans and a belt. His arms are muscular and semi-crossed with his left hand under his right armpit and his right hand grabbing his left shoulder. The wall behind him is cracked and worn, with a window ledge directly above the man's head. Through the window some cylinder shapes and a brick wall with lamp are visible. Recto: signed, titled and dated by artist.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1992
maker
Rushton, Charles R.
ID Number
2008.0178.19
catalog number
2008.0178.19
accession number
2008.0178
Gelatin Silver Print by Charles Rushton of Cathy Maier Callanan, 1992.Black and White domestic interior portrait of middle aged woman with medium length hair wearing all black and sitting on a white wicker sofa with four printed throw pillows.
Description (Brief)
Gelatin Silver Print by Charles Rushton of Cathy Maier Callanan, 1992.
Black and White domestic interior portrait of middle aged woman with medium length hair wearing all black and sitting on a white wicker sofa with four printed throw pillows. Woman is wearing large belt with five visible large metal circles with smaller matching earrings. Woman is facing viewer with body slouched slightly to the left. On her right arm she has a thick metal bracelet and a large metal ring on her right ring finger. On her left ring finger she has a metal ring and a diamond ring. The wall behind her is white, with a window with lace curatins partially visible. On the wall above her head is a wooden frame with a white mat partially visible with only the text "ernst haas" and "image insight." Recto: signed, titled and dated by artist. Verso: "Cathy 1992" written in pencil.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1992
maker
Rushton, Charles R.
ID Number
2008.0178.04
catalog number
2008.0178.04
accession number
2008.0178
Gelatin Silver Print by Charles Rushton of Paul Slaughter, 1993.Black and white portrait of man wearing a light colored button up shirt with a collar. Wall behind the man looks like rock, and there is a white rectangle to the right partially visible.
Description (Brief)
Gelatin Silver Print by Charles Rushton of Paul Slaughter, 1993.
Black and white portrait of man wearing a light colored button up shirt with a collar. Wall behind the man looks like rock, and there is a white rectangle to the right partially visible. Recto: signed, titled and dated by artist.
Description
Charles Rushton is an American photographer that made portraits of New Mexico photographers between the years of 1980 and 1994. This particular collection consists of 38 prints: twenty-nine- 8"x10" gelatin silver prints and nine- 8½"x11" inkjet prints acquired from the photographer. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With the help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years, the Albuquerque Museum of Art and History purchased several of Rushton's prints for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection) and Arnold Newman (depicted in the collection). Rushton holds a Bachelor of Arts degree from Lawrence University, a Master of Arts in Teaching degree from St. Thomas University, a Master of Arts in Library Science degree from the University of Minnesota and a Master of Fine Arts in Photography degree from the University of Oklahoma. Rushton is currently a professor of digital photography at Oklahoma City Community College and Moore-Norman Technology Center.
Location
Currently not on view
date made
1993
maker
Rushton, Charles R.
ID Number
2008.0178.34
catalog number
2008.0178.34
accession number
2008.0178

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