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Robert Adams is one of America’s preeminent landscape photographers whose work has been published, exhibited, and collected throughout the world. His books of photographs include From the Missouri West; Perfect Times, Perfect Places; and Summer Nights, Walking; and his writings on photography are available in such books as Beauty in Photography and Why People Photograph. Adams’s work has been widely exhibited, including shows at the San Francisco Museum of Modern Art, the Denver Art Museum, the Philadelphia Museum of Art, and the Museum of Modern Art, New York (1979). He has received the Deutsche Börse Photography Prize, as well as grants and awards from the Guggenheim Foundation, the MacArthur Foundation, and the Hasselblad Foundation. The Yale Art Gallery has organized a new retrospective exhibition of his work that opens at the Vancouver Art Gallery in fall 2010. The Yale Art Gallery, which holds Adams’s complete body of work to date, has organized a new retrospective exhibition of his work that is currently on view at the Vancouver Art Gallery and will travel to several North American and European venues, including the Los Angeles County Museum of Art and the Reina Sofía in Spain.
Robert Adams’s first book, White Churches of the Plains (Colorado Associated University Press, 1970)
An interview with Robert Adams
“You have a vision and not just a little good luck. Additionally, though still photographers work one picture at a time, a book allows you to put your pictures together so that in some cases they amplify and can make more complex the meaning of what you’re doing. . . . The first book I ever did, White Churches, actually sold for a while on remainder tables for a dime a copy, but even at that, it did get to an audience that cared about it. . . . A picture on paper, assuming it’s well reproduced, is closer to the experience of holding a print than seeing an image on a screen. There is also an important satisfaction in holding a well-made book. It’s a beautiful object with a form that itself suggests wholeness. The pleasure of that object still matters. . . .”
A full transcript of the interview