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Carl ChiarenzaMonographs of his work include:
The Nature of Abstraction
Chiarenza: Landscapes Of The Mind (David R. Godine, Boston, 1988), with essays by Estelle Jussim and Charles Millard, and an extensive chronology by Susan E. Cohen and William S. Johnson;
Chiarenza: Evocations (Nazraeli Press, Tucson, 2002) with poetry by Robert Koch;
Peace Warriors of 2003 (Nazraeli Press, Tucson, 2005)
Solitudes (Lodima Press, Ottsville, PA, 2005)
Interaction: Verbal/Visual (Nazraeli Press, 2006).
He is the author of numerous essays, and of the critical biography, Aaron Siskind: Pleasures and Terrors (Little, Brown, Boston, 1982), which received a Photographic Historical Society merit award. See also: Stu Levy, Cranial Czar, Eh! (Nazraeli Press, Tucson, 2005 -- Chiarenza is the subject).
REVIEWS AND/OR REPRODUCTIONS have appeared in over 250 publications beginning with Modern Photography (1958) and Photography at Mid-Century (1959). A Selection since 1989 includes: Estelle Jussim, The Eternal Moment (1989); Merry Foresta, Seven Settings (portfolio, 1990) reprinted in Carl Chiarenza: Landscapes of the Mind (exh. brochure), Tampa Museum of Art (1992); Judith Reynolds, "The Alchemist," CITY (Rochester, NY), Dec. 9, 1992; William Johnson & Susan E. Cohen, "Conversation with Carl Chiarenza," The Consort, Feb., 1993, pp.1-15; Bruce Checefsky, "Carl Chiarenza/ Cleveland Museum of Art" (exh. review), New Art Examiner, Nov., 1993; Susan Danly, Carl Chiarenza; Diptychs, Triptychs, and Single Prints (Mead Museum exh. brochure), 1994; Portfolio of reproductions with introduction by Henry Brimmer, and reprint of S. Danly text, Photo Metro, 13/123 (Nov., 1994), cover and pp. 3-11; "Photography and Education: Three Generations ... : Carl Chiarenza in Conversation with Gary Metz," Views, 14/3 (Fall, 1994), pp. 10-13; James Enyeart, "Carl Chiarenza: Passages and Transformations," (George Eastman House exh. brochure), 1995; Alison Divine Nordstrom, "After Collage" (Southeast Museum of Photography exh. brochure), 1995; Maria Antonella Pelizzari, "Questioni Sulla Fotografia di Passaggio: Intervista con Carl Chiarenza," Fotologia ,16/17 (Autumn, 1995) , Florence, Italy, pp.70-77; Deborah Martin Kao, "Photography at the Crossroads," in James Cuno, et. al., Harvard Art Museums: 100 Years of Collecting, Abrams, 1996, pp. 286, 289, 312-313; Elizabeth Licata, "Carl Chiarenza: Large-Scale Photographs," in Castellani Art Museum exhibition brochure, Spring 1997; Richard Huntington, "With large photos and tiny collages, Chiarenza captures clashing fictions," The Buffalo News, Mar. 20, 1997, p. C-8; A.D. Coleman, "Carl Chiarenza: Pushing the Envelope," in High Museum exhibition brochure, Carl Chiarenza: Photographs 1984-1997, November, 1997; Naomi Rosenblum, A World History of Photography, 3rd edition, Abbeville, 1997, p.583; Stephen Prokopoff, "Landscapes of the Imagination," in University of Iowa Museum of Art exhibition brochure, Carl Chiarenza: Landscapes of the Imagination, January, 1998; A.D. Coleman, "Tears and Pressures," The Photo Review, 21/1 (Winter, 1998), pp. 15-19; Mount Holyoke College Art Museum, On the Nature of Landscape, (exh. brochure), 1998, np; Peter C. Bunnell, et. al., Photography at Princeton ..., The Art Museum, Princeton University, 1998, pp. 286-87; Francine Koslow Miller, "Works on Paper: Digital Printmaking at Singer Editions, Robert Klein Gallery, Boston," ARTBYTE, Dec.-Jan., 1998-99, pp. 57-59; Keith Davis, An American Century of Photography: The Hallmark Collection, Abrams, 1995, text and repro., pp.308-309, and 2nd ed., rev. and enl., 1999, text and repro., pp.274,311,314,435-436; Daniell Cornell, Alfred Stieglitz and the Equivalent: Reinventing the Nature of Photography (exh. catalog), Yale Univ. Art Gal., 1999, pp. 23-24; Sylvia Wolf and Andy Grundberg, Kenneth Josephson: A Retrospective, Art Institute of Chicago,1999, pp.11, 14; George Eastman House, Photography from 1839 to Today; Taschen, 1999, pp.652-653; Gaza Bowen, "Continuing and Recommended: Carl Chiarenza," ArtScene (Los Angeles), 19/2 (Oct.,1999), p.19; George Eastman House, A Collective Endeavor : The First Fifty Years ..., Rochester, 1999, pp.31,124-25; Robert Hirsch, Seizing the Light: A New History of Photography, McGraw-Hill, 2000, pp. 388;,392,428, 449-50,451,482,499; James Luciana, ed., Black and White Photography: Manifest Visions/An International Collection, Rockport Pub., 2000, pp. 103,135; Sarah Schmerler, "Carl Chiarenza. Alan Klotz/Photocollect, New York" (exh. rev.), Art on Paper, V. 4, N.5 (May-June, 2000), p. 83; Cover, Interview with Brooks Jensen, pp.50-64, & portfolio, pp.65-83, LensWork, N.29 (May-June, 2000); Walter Chappell, "The Arising, Manifestation, and Eventual Eclipse of the Association of Heliographers, 1960-65, New York City," History of Photography, Vol. 24, No. 2 (Summer, 2000), pp.180-183; Rachel Rosenfield Lafo & Gillian Nagler, eds., Photography in Boston: 1955-1985, DeCordova Museum & The MIT Press, Lincoln & Cambridge MA, 2000, text & reproductions, passim.; A.D. Coleman, "Photography as Metaphor -- The Illusive Terrain of Carl Chiarenza," View Camera, May/June, 2001, pp. 3, 28-35; "Carl Chiarenza: tears and pressures,” Portfolio with text by A. D. Coleman, Ag, Vol. 25 (2001), title page, back cover, & pp. 3, 34-43; Amy Rule and Nancy Solomon, Original Sources: Art and Archives at the Center for Creative Photography, University of Arizona, Tucson, 2002, pp. 165, 283;Chiarenza: Evocations, with poetry by Robert Koch, Nazraeli Press, Tucson, 2002; The National Endowment for the Arts, A Creative Legacy: A History of the NEA Visual Artists' Fellowship Program, 2002; Rodger Kingston, “A Mind with a View,” Bostonia, Summer, 2002, pp. 82-83; Leland Rice, “Carl Chiarenza,” Black & White, Issue 21 (October, 2002), pp. 68-75; A.D. Coleman, “Visual Literacy,” Photography in New York International, Sept./Oct., 2002, p.48; Jean Dykstra, “Photo Book Beat,” Art on Paper, 7/3 (Dec., 2002), p.75; Frank Watson, “Carl Chiarenza Evocations,” f (SFF, Sweden), Nr. 4, 2002; Ricardo Mendes, "Once Upon a Time: uma historia da historia da Fotografia brasiliera," FotoPlus, Brazil, Feb. 2003, passim; Judith Tolnick, Carl Chiarenza: a special exhibition (exh. brochure), Photography Gallery, University of Rhode Island, 2003; Doug Norris, "Photo retrospective reveals masterful technique," South County Independent (RI), Nov. 27, 2003; and Ken Shulman, "Aaron Siskind and Carl Chiarenza," Art News, Feb., 2004, pp. 118, 120; Doug Norris, "Carl Chiarenza: A Retrospective," Art New England, April/May, 2004, p.29; Bill van Siclen, "At URI Gallery: works that will give you pause," The Providence Journal LIVE, Nov. 6-9, 2003, pp.22-23; Ken Shulman, "Aaron Siskind and Carl Chiarenza," Art News, Feb., 2004, pp. 118, 120; Joan Fontcuberta, ed., Photography, Crisis of History , Actar, Barcelona, Spain, 2004, p. 8, & passim; Julie Bernzott, “Carl Chiarenza” (Review of Chiarenza exhibition at Carl Solway Gallery), City BEAT (Cincinnati News & Entertainment Weekly), Dec. 01, 2004; Barbara Savedoff, "Abstract Photography: Identifying the Subject," Exposure, Vol. 37, No. 2 (2004), pp. 25-34; “A Lesson in Seeing, an Interview with Carl Chiarenza,” by N. Elizabeth Schlatter, Focus Magazine, Vol. 1, No. 6, April, 2006, pp.35-42 (with nine reproductions); "Return of the Heliographers," Black and White Magazine, Issue 53 (Sept. 2007), pp. 38-39; An interview by Robert Hirsch will appear in a 2007 issue of The Photo Review.
PUBLIC COLLECTIONS include: Los Angeles County Museum of Art, National Museum of American Art (Washington DC), Philadelphia Museum of Art, Museum of Modern Art (NYC), Art Institute of Chicago, Cleveland Museum of Art, Minneapolis Institute of Arts, Museum of Fine Arts (Boston), Museum of Fine Arts (Houston), San Francisco Museum of Modern Art, Amon Carter Museum (Fort Worth), The Getty Museum (Los Angeles), Santa Barbara (CA) Museum of Art, Tampa Museum of Art, George Eastman House (Rochester), Center for Creative Photography (Tucson), Harvard University Art Museums, Worcester (MA) Art Museum, Museum of Art (Princeton University), Yale University Art Gallery, RISD Museum of Art (Providence), Hallmark Fine Art Collection at Nelson-Atkins Museum of Art (Kansas City, MO), Krannert Art Museum (Illinois), Rose Art Museum (Brandeis University), Ackland Art Museum (Chapel Hill), Museum of Contemporary Photography (Chicago), Exchange National Bank (Chicago), Museum of Art (St. Petersburg), International Center of Photography (NYC), Grunwald Collection (UCLA), Bibliotheque Nationale de France (Paris), Mead Museum of Art (Amherst), New Orleans Museum of Art, Addison Gallery of American Art (Andover), Mount Holyoke College Art Museum, Smith College Museum of Art, University of Iowa Museum of Art, The Currier Gallery of Art (Manchester, NH), The Art Gallery of Ontario (Canada), Ryerson University (Toronto, Canada). The Photography Archive/University of Louisville (KY), LaSalle National Bank Collection (Chicago), DeCordova Museum (Lincoln, MA), The Fitchburg (MA) Art Museum, Rochester Institute of Technology Wallace Library, Spectrum Gallery (Rochester), Shadai Gallery (Tokyo, Japan), Kiyosato Museum of Photographic Arts (Yamanashi, Japan), Agfa Division/Bayer Corporation Photography Collection, Polaroid Corporation Collection, The Elizabeth Collection (Rochester, NY), The Saunders Group (Rochester, NY), The College (University of Rochester), The Joy of Giving Something, Inc. (New York, NY). PERMANENT INSTALLATIONS: 5X14 foot quartet, Lobby, Gannett Building, Rochester Institute of Technology; a triptych for Art Project, University of Iowa Hospitals & Clinics; a triptych and a large-scale IRIS print at Meridian Center, Rochester, NY; 5X11 foot triptych, Wilson Commons, University of Rochester.
ARTICLES & REVIEWS BY CHIARENZA have appeared in numerous publications since 1957. He served as editor of Contemporary Photographer in the 1960s. His writing includes theoretical musing ("Notes Toward an Integrated History of Picturemaking," in Afterimage , reprinted in T. F. Barrow, et. al., eds., Reading Into Photography..., [Albuquerque, 1982]), and critical works on Aaron Siskind, Robert Heinecken, Kenneth Josephson, Garry Winogrand, Ansel Adams, Paul Strand and others. His extensive essay, on Garry Winogrand, appeared in two parts in IMAGE, Vol. 34, No. 3-4 (1991) and IMAGE, Vol. 35, No. 1-2 (1992). He continues to write occasional pieces such as, with Professor Alisa Luxenberg (University of Georgia, Athens), "Photography and Painting: The Evolution of Modern Picture-making in France ca. 1860-1880," Exposure, Vol. 37, No. 1 (2004), pp. 3-16; Nathan Lyons and Carl Chiarenza, with Rick Hock, “Speaking in Black and White,” Image (Journal of George Eastman House), Vol. 45, No. 1 (Spring 2007), pp. 4-11; he has reviewed books regularly for CHOICE since 1980.