SHIRLEY BURDEN original Vintage Silver Gelatin signed photograph

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Location: Bluffton, South Carolina
Ships to: US,
Item: 305544361951

All returns accepted:ReturnsNotAccepted
Type:Photograph
Production Technique:Gelatin-Silver Print
Original/Licensed Reprint:Original

SHIRLEY BURDEN original Vintage Silver Gelatin signed photograph: Perfect condition. Frames with anti-UV plexi. and acid-free mat. Ready to hang. No international buyers or shipping. Lower 48 USA only. Shirley Carter Burden Shirley Carter Burden (December 9, 1908 – June 3, 1989) was an American photographer,[1][2] author of picture essays on racism, Catholicism, and history of place.[3][4] He served on advisory committees of museums, including the Santa Barbara Museum of Art in California, and was the Photography Committee chairman at the Museum of Modern Art in New York, and of Aperture,[5] which named the Burden Gallery (New York) in his honor.Early life[edit]Burden was born on December 9, 1908, in New York City, the younger son of William Armistead Moale Burden Sr. and Florence Vanderbilt (née Twombly) Burden. He was the brother of Ambassador William Armistead Moale Burden Jr.[6] His maternal grandparents were Florence Adele Vanderbilt Twombly (1854–1952) and Hamilton McKown Twombly (1849–1910),[7] and he was a great-great-grandson of Cornelius Vanderbilt.[6]He was at the Browning School in New York City until 1926, but did not go on to college or university education.[8]Career[edit]Beginning in 1924, Burden assisted at Pathé News. In 1926, he and his cousin filmed an Ontario Indian tribe for their The Silent Enemy, and from 1927 held a minor position at Paramount Studios. A 1929 meeting with Edward Steichen inspired his interest in photography and later gained his mentorship. He sought better motion picture prospects in California and Hollywood[9] and from 1929 to 1934 used his contact Merian C. Cooper to gain associate producer work, most significantly at RKO on Academy Award nominated ”She”.Commercial career[edit]During World War II, Burden established Tradefilms in 1942, successfully producing training films which were then in demand from the US Navy, the Office of Education, and Lockheed Aircraft. This business was unsustainable postwar and Burden and Tradefilms partner Todd Walker opened a photography studio in Beverly Hills, California, in 1946, producing advertising and architectural photography for magazines Architectural Forum, House and Garden, Arts and Architecture.[citation needed]Fine art career[edit]Dissatisfied with commercial photography, and having embraced Roman Catholicism, Burden decided on a more fulfilling fine art career, encouraged by Minor White[10] whom he met in 1952. The friendship developed into his patronage of White’s Aperture magazine. He assisted Edward Steichen in gathering photography for, and subsequently contributing images to, MoMA’s highly successful, international travelling Family of Man (1955), working on this also with Dorothea Lange whom he befriended.These contacts and experience launched a successful fine art photography career. His photo-essay on the all-but-abandoned Ellis Island,[11] was exhibited under the auspices of the City of New York, and an invitation to exhibit his essay on the Weehawken ferry at MoMA in Diogenes With a Camera IV in 1958, curated by Steichen, who encouraged Burden to photograph Trappist monks at the abbey of Our Lady of Gethsemani, Kentucky (God Is My Life).[12] Travel to Lourdes in 1960 resulted in Behold Thy Mother, published by Doubleday in 1965, and notoriety continued with the well publicised I Wonder Why, which documented racism experienced by a young black girl.[13]He continued with his photo essays (on Japan, and his ancestors, the Vanderbilts[14]) and he repaid his success by chairing or advising a range of photography organisations, and teaching (1978–81, at the Art Center College of Design in Pasadena, California.).

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