Photo Museums

Plains Art Museum contains approximately 3000 works of art in its permanent collection. These select works of art are some exciting pieces that the Museum is very proud to have in its collection.

Todd H. Strand is known for his ability to capture honesty on film. This photograph is of a poor, rundown school and its eleven students. He seems to capture the strength and resilience of the North Dakota people.

The museum first opened its doors on February 1, 1922, as the Akron Art Institute. It was located in two borrowed rooms in the basement of the public library. The Institute offered classes in arts appreciation which were organized by Edwin Coupland Shaw and his wife Jennifer Bond Shaw. It has grown considerably since that time. The new museum was open to the public on July 17, 2007, and hosts visiting shows from national and international collections.

The Art Collections of the University at Albany reflect over 30 years of contemporary art and include over 3,000 works (primarily on paper). The collections include works by such renowned artists as Vito Acconci, Mel Bochner, Manuel Alvarez Bravo, Willem deKooning, Richard Diebenkorn, Leon Golub, Donald Judd, Grace Hartigan, Ellsworth Kelly, Louise Nevelson, Eduardo Paolozzi, Dieter Roth, Edward Ruscha, Robert Rauschenberg, James Rosenquist, and Robert Smithson. More recent acquisitions include works by Xu Bing, Yasumasa Morimura, Vic Muniz, Tim Rollins+ K.O.S., Lorna Simpson, and Kara Walker.

We hold over 10,000 photographs, from early daguerreotypes to contemporary digital images, by almost every recognized master of the medium (and also by anonymous photojournalists and amateurs).

The print collection of the Allentown Art Museum was begun in 1966 to serve as an educational tool, at which time the SOTA Print Fund was inaugurated to build this area. From the late 1970s, the print collection has been built on the same principles of excellence as other collections of the museum. It reflects the paintings and sculpture from the collections of Samuel H. Kress, Mr. and Mrs. Fowler Merle-Smith, Mrs. Eugene Garbaty, and others, comprising the Museum’s core Old Master holdings. Prints from the Renaissance and earlier Baroque periods currently represent areas of strongest representation.

The collection has diverse treasures. Like many other Texas institutions built in the early and mid '70s the Museum began in 1972 as a non-collecting institution. However, by 1979 the Board of Trustees had established collection policies and since that time the Museum's holdings have grown steadily. The earliest collection focus was early American Modernist paintings and today the collection is best represented in this area by the four Georgia O'Keeffe watercolors and several works by John Marin. These works are in the context of other members of their circle such as Edward Steichen, Edward Weston, Paul Strand, and Alfred Stieglitz. Mid-century Modernists are represented by a particularly nice Franz Kline and important pieces by Louise Nevelson and Helen Frankenthaler. A small group of European paintings from the 17th, 18th, and 19th centuries are best represented by two excellent paintings from the mid 1700s by the Italian painter Francesco Guardi. The photography holdings are dominated by the work of F.S.A. photographer Russell Lee however, excellent examples of his colleagues Dorothea Lange, Arthur Rothstein, Jack Delano and Marion Post Wolcott are included. Since 1995 the Museum's Asian art collection has grown dramatically through the generosity of Dr. and Mrs. Price of Amarillo. The collection includes representative textiles from every primary weaving area of the Middle East with examples from the 18th, 19th, and 20th centuries. A comprehensive selection of Edo period Japanese wood block prints by all the major artists is in place and being added to yearly by the Prices. Of particular interest are the South and Southeast Asian sculpture holdings in this collection. Again, this area continues to grow, but currently the collection has Buddhist and Hindu pieces ranging from 2nd century B.C. Gandharan works to 9th century Java and 14th century Khmer sculpture.

A world-class museum located in the heart of Alaska's largest city, the Anchorage Museum at Rasmuson Center began as a public-private partnership to celebrate the 100th anniversary of the purchase of Alaska from Russia. The Museum opened its doors in 1968 with an exhibition of 60 borrowed Alaska paintings, and a collection of 2,500 historic and ethnographic objects loaned from the Cook Inlet Historical Society.

The permanent collection now numbers 25,000 objects plus an education collection of roughly 2,000 artifacts; the Department contains more than 500,000 historical photographs, 12,000 publications and 800 maps.

The Museum has amassed an important collection of works on paper. Illuminated manuscript leaves from the Middle Ages and Renaissance are complemented by Old Master drawings by Delacroix, Jacques Callot, Il Guercino, and Jacob Jordaens. UMMA's collection of Modern and Contemporary drawings includes such modern masters as Alexander Calder, László Moholy-Nagy, and Le Corbusier. More recent highlights include works by Lee Bontecou, Bridget Riley, and Brice Marden. The Museum’s prints include exceptional and outstanding impressions by Marc Chagall, Albrecht Dürer, Robert Motherwell, Pablo Picasso, and Rembrandt van Rijn. Among the highlights is a superb collection of more than 180 etchings and lithographs by James McNeill Whistler. The photography collection includes examples ranging from the earliest daguerrotypes and paper negative prints of William Henry Fox Talbot to recent works by Candida Höfer, Sally Mann, and Carrie Mae Weems. Photo-Secession artists such as Edward Steichen, Alfred Stieglitz, and Paul Strand are well represented, as are 20th century practitioners such as Berenice Abbott, Ansel Adams, Manuel Alvarez Bravo, Walker Evans, and Minor White.

The Elizabeth Myers Mitchell Art Museum, known simply as /m, is a vibrant cultural space at St. John’s College in Annapolis that brings together contemporary and historical art in an atmosphere of thoughtful inquiry and open dialogue. With its rebranding from gallery to museum in 2023, /m celebrates its long-standing accreditation by the American Alliance of Museums and affirms its role as a significant institution for visual arts in Maryland. It is the only nationally accredited art museum in Anne Arundel County and the only such institution on a college campus in the state.

Housed in a striking building designed by architect Chip Bohl, /m is situated just steps from the Maryland Statehouse and embodies the college’s dedication to rigorous intellectual engagement. Like St. John’s Great Books curriculum, the museum is a space for timeless questions and evolving conversations. It invites visitors—students, scholars, and the wider community—to engage deeply with art across cultures, periods, and media.

Founded in 1975 in a former science lab, the museum has evolved dramatically. Thanks to the vision of donors like Elizabeth Myers Mitchell and guidance from respected figures in the art world, the museum grew into a professional institution known for high-quality exhibitions. Its programming has ranged from Rembrandt prints to Mayan ceramics to contemporary installations, reflecting a commitment to both breadth and depth.

In recent years, /m has embraced a fresh mission under the leadership of Peter Nesbett and Jenny Cawood. Their focus on “artistic inquiry” aligns with the college’s spirit of exploration and conversation. Through free exhibitions, educational programming, and community events, the Elizabeth Myers Mitchell Art Museum offers a welcoming place where curiosity thrives, and art becomes a catalyst for shared learning and discovery.

The Museum has established its expertise in the collection, preservation, and interpretation of American art beginning in the 20th century and in all aspects of public programming, making innovative and outstanding exhibition experiences available to residents of and visitors to WNC. The Museum preserves important aspects of our national and regional heritage through strategic collecting and the conscientious stewardship of great works of art. The Permanent Collection, containing more than 3,572 works in all media and 4,905 architectural drawings, is the only such resource in the region. The Museum annually presents 14-17 exhibitions drawing from the permanent collection and borrowed works. In addition, the Museum has curated projects focusing on themes of contemporary interest and has invited internationally acclaimed curators to contribute their skills.

The Aspen Art Museum is a noncollecting institution presenting the newest, most important evolutions in international contemporary art. Our innovative and timely exhibitions, education and public programs, immersive activities, and community happenings actively engage audiences in thought-provoking experiences of art, culture, and society.

Decisive moments in photography are yours for up-close and personal viewing with the High's photography collection. It features more than 4,500 prints with notable examples of every photographic genre and process as well as many of the masters in the field, including George N. Barnard, Harry Callahan, Julia Margaret Cameron, Walker Evans, Emmet Gowin, Clarence John Laughlin, Sally Mann, Susan Meiselas, Richard Misrach, and Edward Weston. The High's particular strength is in American photography, with the nation's most comprehensive collection of civil rights-era photography, including works by Bob Adelman, Bruce Davidson, Leonard Freed, Danny Lyon, and Ernest C. Withers. Large-scale prints by prominent contemporary artists such as Vik Muniz, Taryn Simon, Thomas Struth, and Jeff Wall are also featured in the collection.

The works on paper collection at the Carlos Museum contains over 4,000 prints, drawings, and photographs. The collection was begun in 1967 by the Art History Department, which continues to play an active role in the selection and donation of works to the Museum. At the same time, the Carlos has benefited from numerous donations from private collectors, many of them Emory alumni from across the United States, as well as from present and former Emory faculty and, finally, diverse friends of the Museum based in Atlanta and elsewhere. These donations - encompassing Renaissance and Baroque engravings and etchings, French and Italian drawings, nineteenth- and twentieth-century photography, American Regionalist prints, contemporary works, and still other areas-have enriched all the Museum's collections immeasurably.

The cornerstone of the photography collection is the renowned Helmut and Alison Gernsheim collection, which is best known for its treasures of nineteenth-century photography, including the world's first photograph, a unique image created in 1826 by the French inventor Joseph Nicéphore Niépce. Since that landmark acquisition, the photography collection has expanded into such diverse areas as fine art, photojournalism, documentary photography, the history of photography, and its technology. These holdings currently amount to over five million prints and negatives, supplemented by books, manuscripts, journals, and memorabilia of significant photographers since the medium's invention.

The Bakersfield Museum of Art began as the Cunningham Memorial Art Gallery in 1956 with a donation from the Walter Osborn family who desired to establish an art gallery in memory of their daughter Marion Osborn Cunningham (1911-1948). Their considerable donation was amplified by the generosity of caring individuals who provided the building blocks for the gallery to be constructed on city land.

The BMA has an internationally renowned collection of 65,000 works on paper, including 4,000 drawings and 4,000 photographs, from the 15th century to the present. Considered one of the most significant collections of works on paper in the country, it is also a comprehensive resource for the study of European and American printmaking. The BMA’s photography collection has grown to more than 3,000 works of astonishing quality. The Gallagher/Dalsheimer collection features 20th-century American street photography and an exceptional group of experimental European photographs made between the wars. Photographers represented in depth include William Eggleston, Man Ray, Alfred Stieglitz, and Edward Weston. The collection has expanded with the addition of works by Gordon Parks and James Welling, as well as recent acquisitions of large-scale color photographs by contemporary artists Rineke Dijkstra, Jeff Wall, and Carrie Mae Weems.

LASM’s holdings include works by photographers of regional and national reputation, such as William Greiner, A. J. Meek, Arnold Newman, Thomas Neff, Julia Sims, and others. A family photograph and memorabilia collection of Civil War photographer Andrew Lytle is also included.

For more than 90 years, The Dayton Art Institute has been committed to enriching lives and serving the community by creating meaningful experiences with art. We invite you to explore our website to learn more about our diverse permanent collection, world-class special exhibitions, concerts, family programs, art classes, social events and more. Join our online community and let us know how art has changed your life. Art changes lives…live it at The Dayton Art Institute.

Crystal Bridges Museum of American Art welcomes all to celebrate the American spirit in a setting that unites the power of art with the beauty of nature. We explore the unfolding story of America by actively collecting, exhibiting, interpreting, and preserving outstanding works that illuminate our heritage and artistic possibilities.

The UC Berkeley Art Museum and Pacific Film Archive is the visual arts center of the University of California, Berkeley, the nation's leading public research university. Our mission is to inspire the imagination and ignite critical dialogue through art and film, engaging audiences from the UC Berkeley campus, the Bay Area, and beyond. Each year BAMPFA presents more than twenty art exhibitions, 450 film programs, and dozens of performances, as well as lectures, symposia, and tours. The Berkeley Art Museum and Pacific Film Archive’s comprehensive collection- more than 19,000 works of art and 17,500 films and videos - is characterized by artistic excellence and innovation, intellectual exploration, and social commentary. Representing a tremendous diversity of global cultures and historical periods, the collection has particular strengths in Ming and Qing dynasty Chinese painting, Mughal dynasty Indian miniature painting, Baroque painting, old master prints and drawings, early American painting, nineteenth- and early-twentieth-century photography, Conceptual art, and international contemporary art, classic and international cinema, West Coast avant-garde film, international animation, Soviet cinema, early video art, and the largest collection of Japanese films outside of Japan. BAMPFA's Modern collection is built around a remarkable core holding of fifty paintings by the Abstract Expressionist painter and teacher Hans Hofmann and includes significant works by Mark Rothko, Helen Frankenthaler, Ad Reinhardt, Jackson Pollock, David Smith, and Clyfford Still.

L. A. Huffman Regional historic photographer L.A. Huffman is well represented in the Yellowstone Art Museum's permanent collection.

The collection includes excellent contemporary photographs by Cindy Sherman, Thomas Struth, Candida Hofer, Philip Lorca DiCorcia, Lorna Simpson, James Casebere, Vic Muniz, William Christenberry and David Levinthal, and videos by Ann Hamilton, Tabaimo, Joseph Grigely, Bill Viola and Emily Jacir.

We began as a university art collection without a gallery, but with a wealth of vision and bold aspirations. Today, our museum is an architectural landmark and so much more—a newly renovated, dynamic learning space that brings the process of conservation to life for visitors, explores the frontier of art-based wellness, and houses one of the most expansive university museum collections in the United States.

Numbering more than 1500 images, the Museum's photography collections represent a veritable textbook of 19th-and-20th-century works spanning the entire history of the medium. From early processes to large contemporary works, the collection demonstrates the range of photographic media from documentary to conceptual. Rotating exhibitions are curated to provide installations that introduce aspects of the history of photography, such as anonymous daguerreotypes, delicate albumen prints, antiquated glass lanternslides, glorious silver prints by important 20th-century photographers and contemporary color-saturated prints.
The Museum's photography collections break down into six basic categories:

GENERAL HISTORY with works by William Henry Fox Talbot; Platt Babbitt; and Freres Bisson. This category also includes: daguerreotypes, albumen print portfolios an historical works key to setting a framework for the century to come;

SOCIAL AND DOCUMENTARY images by New Deal FSA and WPA photographers Marion Post Wolcott and Dorothea Lange; child labor and immigrant worker images by Lewis Hine; Berenice Abbott's New York; Bill Brandt's London; and the Paris of Brassaï and Robert Doisneau;

MODERNISTS BETWEEN THE WARS such as Man Ray, Paul Strand, Imogen Cunningham, Edward Weston, and experimental Edward Steichen;

CONTEMPORARY PLURALIST DIRECTIONS with works by Robert Frank, Helmut Newton, Lee Friedlander, Mary Ellen Mark, Garry Winogrand, William Christenberry, Jerry Uelsmann, Patrick Nagatani and Gregory Crewdson.

The collection became truly international in scope between 1987 and 1992 with focused Museum acquisitions and purchases of more than 200 photographs to infill areas within the historical narrative. Works by key photographers such as André Kertész, long acknowledged as the father of modern photography, were acquired at this time. Additionally, the collection encompasses representative examples by significant photographers such as Alfred Stieglitz, Henri Cartier-Bresson, Sebastião Salgado, Arnold Newman, Andreas Feininger, Walker Evans, John Waters, Graciela Iturbide, Gordon Parks, Robert Frank, Ralph Gibson, Les Krims, and Robert Fichter. Amplifying the Museum's photography holdings, and of particular interest to numerous visitor constituencies, is the Prigozy Collection from the International Center of Photography, New York. This collection is comprised of more than 250 cameras and photographic equipment which span the history of the camera from the nineteenth-century to present day. The Prigozy Collection holds many rare and precious objects such as Japanese and German sub-miniatures, British plate cameras, Kodak and Kinak art deco-designed cameras, and the earliest 35 mm Leica cameras, in addition to the first movie cameras and equipment, like the 16 mm, Keystone Model B.

The Isabella Stewart Gardner Museum displays an art collection of world importance, including works that rank among the most significant of their type. Isabella Stewart Gardner collected and carefully displayed a collection comprised of more than 2,500 objects—paintings, sculpture, furniture, textiles, drawings, silver, ceramics, illuminated manuscripts, rare books, photographs and letters—from ancient Rome, Medieval Europe, Renaissance Italy, Asia, the Islamic world and 19th-century France and America. Built to evoke a 15th-century Venetian palace, the Museum itself provides an atmospheric setting for Isabella Stewart Gardner's inventive creation.

The Museum of Fine Arts, Boston, was one of the earliest museums in the country to collect photography, initiated in 1924 when Alfred Stieglitz donated twenty-seven of his photographs. Other strengths of the collection include daguerreotype portraits by Southworth and Hawes; sublime landscapes of the American West; turn of the century Pictorialist photographs; European and Central European photography from between the wars, including a large collection of photographs by Josef Sudek; and the recently acquired archival collections of celebrity portraits by Yousuf Karsh and Herb Ritts and mountain photographs by Bradford Washburn

The CU Art Museum’s collection includes 19th and 20th century photography, as well as contemporary photography, video, and new media work. The 19th century photography collection highlights the convergence of science and art in the development of photographic techniques and includes daguerreotypes, tintypes, and stereoscopic photography, amongst other techniques. The collection of 20th century modernist photography includes works by many noted masters, including Paul Strand, Manuel Alvarez Bravo, Phillipe Halsman, Judy Dater and others. Contemporary photography in the collection spans the globe featuring major works by artists such as John Baldessari and Susan Hefuna. The collection has a special focus on contemporary women photographers and includes work by Sophie Calle, Carrie Mae Weems, Rivane Neuenschwander, Lynne Hershman, Orit Raff, and many others.

The MOR Photo Archive is a collection of historical photography from the Northern Rockies Region of Montana, Idaho, and Wyoming. The Archive includes photographs from the late 1860s to the 1980's that document the people, places, industry, and events of the region.
The MOR Photo Archive contains over 80,000 photographs, including the complete archives of several local and regional photographers. Active collecting has resulted in the acquisition of photography collections of both national and regional significance. Research use of the Photo Archive collections provides a significant visual and historic service to our community and to humanities professionals.
Highlights of the Collection include:
Farming and ranching in Montana and our region, Regional industries, people and events, Yellowstone National Park, Railroads of the northwestern United States.

Whether showcasing regional artists in dynamic group shows, inviting guest curators to create one-of-a-kind exhibits, celebrating local fine art legends, or presenting the work of international art icons, the Brattleboro Museum & Art Center produces powerful exhibits that challenge the status quo while honoring the hallowed lineage of art history.

The Bronx Museum of the Arts is an internationally recognized cultural destination that presents innovative contemporary art exhibitions and education programs and is committed to promoting cross-cultural dialogues for diverse audiences. Since its founding in 1971, the Museum has played a vital role in the Bronx by helping to make art accessible to the entire community and connecting with local schools, artists, teens, and families through its robust education initiatives and public programs. In celebration of its 40th anniversary, the Museum implemented a universal free admission policy, supporting its mission to make arts experiences available to all audiences.

The Brooklyn Museum, housed in a 560,000-square-foot, Beaux-Arts building, is one of the oldest and largest art museums in the country. Its world-renowned permanent collections range from ancient Egyptian masterpieces to contemporary art, and represent a wide range of cultures. Only a 30-minute subway ride from midtown Manhattan, with its own newly renovated subway station, the Museum is part of a complex of nineteenth-century parks and gardens that also includes Prospect Park, the Brooklyn Botanic Garden, and the Prospect Park Zoo.

The collections of the Bowdoin College Museum of Art range from the cultures of the ancient Mediterranean world to artwork created in the first years of the 21st century. A small selection from the 20,000 objects in the collection is featured in this section of the website. The various collections including Decorative Arts, Paintings, Sculpture, and Works on Paper are among the most comprehensive of any college museum in the country. The collections continue to grow through purchase, gift, and bequest.

Photographs and archives in the MIT General Collection broadly chronicle and depict the history of science and technology from the mid 19th century to the present. The majority of photographs and archives can be found in an extensive collection of biographical and subject files. Subjects include past faculty members and students, student life, hacks, events, departmental histories, and campus development. It provides a unique resource for historical photographs of MIT.

The Permanent Collections are estimated to contain approximately 6,265 objects, including paintings, sculptures, textiles, drawings, photographs, prints and other works on paper. The collection is divided into several areas, the general permanent collection and two special collections: the Conrad Schwiering Studio and Illustrations by Carl Link.

Of the 7,200 works of art in the Museum's collection, more than 3,000 are works on paper: prints, drawings, photographs, and watercolors. These range from drawings by Abraham Walkowitz, Dorothy Houts, Grant Wood, and Marvin Cone to important prints by Albrecht Durer, Rembrandt van Rijn, Albert Sterner, Bertha Jaques, and Mauricio Lasansky. Also included is an extensive group of prints and drawings by James Swann, as well as a rich body of watercolors by Lela Powers Briggs. It is an area in which the Museum continues to grow, with the recent addition of prints by Betye Saar, Susan Davidoff, Luis Jimenez, and Roger Shimomura.

Krannert Art Museum (KAM) promotes a vibrant exchange of ideas in the visual arts. The museum's rich permanent collection contains more than 10,000 works of art dating from the fourth millennium BCE to the present, representing a broad range of cultures and varied modes of artistic expression.

The Ackland Art Museum contains one of the most extensive collection of “fine art” photography in North Carolina. The collection spans the history of the genre, beginning with an 1843 calotype by Fox Talbot and continuing into the twenty-first century with chromogenic prints by Edward Burtynsky, Lalla Essaydi, and Marco Breuer.

The Light Factory Contemporary Museum of Photography and Film is one of only four museums for photography and film in the United States. We have served as a haven for artists to express new ideas through photography and filmmaking, and to support cutting edge art since 1972.

The Light Factory was founded in 1972 as a Photographers' Cooperative whose goal was to nurture a growing community of emerging artist-photographers and increase appreciation for photography as an art form. The stated purpose of the group was to “to provide an outlet for the displaying of photographic prints and other creative products of the photographic medium,” and to display in a gallery setting “work which stands on its aesthetic and creative value.” The Light Factory obtained 501c3 status and began teaching classes and performing community outreach, like the My Family, Our Stories photo-literacy project which now serves English as Second Language students in Charlotte Mecklenburg Schools (CMS).

The Light Factory quickly became a museum, dedicated to exhibition and education. In 1999, The Light Factory added film to its mission as the sister lens-based medium of photography. In the same vein as its mission, The Light Factory specializes in exhibiting independent film and nurturing emerging new media. Year-round screenings include documentaries, narrative films, experimental films, animation and The Light Factory Filmmakers' Showcase of short films.

The Light Factory gives free screening space to independent filmmakers from around the world, with special support for local and regional artists, many of whom have gone on to pursue full-time moviemaking careers. The Light Factory also hosts masters of the indie film world like Charles Burnett and George A. Romero, to share the secrets of making film outside Hollywood and expose their work to a greater audience.

From humble beginnings in an upstairs room of the Torrence Street Gallery, The Light Factory has expanded to its current home in Spirit Square which features two galleries (the Knight and Middleton McMillan Galleries), a complete darkroom and digital classroom, office space and theatres for film screenings.

Today The Light Factory is one of only four museums in the United States that promote the power of image through photography and film, featuring large-scale exhibitions of photography and digital video art, year-round screenings and major film events, as well as more than 90 classes in photography and filmmaking, and life-changing outreach programs.

The Modern & Contemporary Art collection consists of works of global significance and vision, representing a perspective that reflects our own diverse and vibrant community. The Mint Museum is committed to building upon a dynamic foundation of paintings, photography, works on paper, artist books, sculptures, installations, and new media (digital, video, and time-based works) that conveys important cultural developments and stylistic innovations and are available for the benefit of all.

The Museum began collecting photography in 1980 and has since amassed a collection of over 1000 images ranging in date from 1878 to the present. Artists in the collection include Eugène Atget, Berenice Abbott, Man Ray, Frederick Sommer, Sally Mann, and Shelby Lee Adams. Also represented are New York scene photographers Helen Levitt, Robert Frank, Garry Winogrand, Roy De Carava and Diane Arbus. The collection holds extensive bodies of work by three artists: Sam Abell, renowned National Geographic photographer, documentary photographer David Plowden, and landscape photographer William Wylie.

Founded by Columbia College Chicago in 1984 as the successor to the 1976 Chicago Center for Contemporary Photography, the museum collaborates with artists, photographers, communities, and institutions locally, nationally, and internationally. As the leading photography museum in the Midwest, presenting projects and exhibitions and acquiring works that embrace a wide range of contemporary aesthetics and technologies, the museum offers students, educators, research specialists, and general audiences an intimate and comprehensive visual study center. Source http://www.mocp.org/about/history-and-mission The Museum of Contemporary Photography’s collections uniquely illustrate the diversity of regional, national, and international photographic practice. The museum’s permanent collection is comprised of more than 10,000 photographs and photographically-related objects produced since 1936. The Midwest Photographers Project is a rotating archive of contemporary work by artists living and working in the Midwest.

Spanning the history of the medium from its beginning in 1839 to the present, the Art Institute's photography collection contains works of many of the medium's celebrated practitioners. The collection originated in 1949, when Georgia O'Keeffe donated the Alfred Stieglitz Collection. The acquisition of the Julien Levy Collection, a gift of more than 200 photographs by Edward Weston, and purchases of the work of Paul Strand, Eugéne Atget, and André Kertész have made the department’s collection of modern masters one of the strongest in the world.

The Museum of Contemporary Art Collection has outstanding examples of visual art from 1945 to the present with a strong focus on surrealism, minimalism, conceptual photography, and work by Chicago-based artists. These highlights from the 2,500 objects in the collection are arranged alphabetically by artist’s last name and range in media from painting, sculpture, and photography to installation and video. Each object is accompanied by an image and a short description. Although not represented here, the MCA also has over 3,000 examples in its collection of artists’ books. Only a small percentage of collection works are on view at any given time and may be found in any of the museum spaces. These works are often used to create rotating thematic exhibitions.

The Museum offers a wide variety of special exhibitions in all media throughout the year, from thematic and historical exhibitions to works by contemporary artists. Recent presentations include paintings, sculpture, printmaking and installation by contemporary Iraqi artists; early twentieth-century photographs by Eugene Atget and Berenice Abbott, and Old Master prints by such artists as Dürer, Cranach, Rembrandt and Goya. Lectures, concerts, and special events provide additional perspectives.

The photographic works in the NMMA’s permanent collection include a variety of media ranging from vintage albumen prints to contemporary laser-generated images. The subject matter spans documentary photographs of 19th-century Mexico and the Mexican Revolution to recent mixed-media assemblages. There are approximately five hundered photos in the museum's collection.

The Oriental Institute of the University of Chicago is among the leaders in the recovery of the history, languages, and cultures of the ancient Near East. In the halcyon days of the 1930s, when universities and museums conducted expeditions on a scale now unheard of, Oriental Institute teams worked in nearly every country of the Near East. An integral part of each excavation was the expedition photographer, who was entrusted with capturing not only the routine of each day’s work but also the moments of discovery and exploration. These images recount some of these memorable moments, as the Oriental Institute sifted the sands of time.

One of the oldest arts institutions in the United States, the Cincinnati Art Museum has a rich collection of more than sixty thousand works of art, spanning six thousand years. This unique collection includes the ancient art of Egypt, Greece, and Rome as well as Near and Far Eastern art, art of Africa and the Americas, costume and textiles, prints, drawings, photographs, paintings, sculpture, decorative art, and contemporary art.

Located in the heart of historic downtown Clarksville, Tennessee, the Customs House Museum and Cultural Center is the State’s second largest general museum. With over 35,000 square feet of exhibit space, hands-on activities and special events…people of all ages agree – the Customs House Museum is well worth the stop!

Since 1983, the museum has assembled a small, carefully selected collection of fine art photography covering the history of the medium that began in 1839. It represents many of the major movements and inventive practitioners. Strengths of the collection are its early 19th-century images by many pioneering figures, especially French, English, and American photographers; pictorial photography with complete sets of The North American Indian by Edward S. Curtis and Camera Work; surrealist photography created primarily between the two world wars; and Cleveland-specific subject matter produced by regional and national photographers. The collection also includes extensive examples of post-1970 photography.

The Ruth and Elmer Wellin Museum of Art joins traditional object-based learning with advances in interdisciplinary approaches. With its visible archive and open storage, the museum allows for unprecedented access to a collection of art and artifacts that span millennia and cultures. The Wellin’s state-of-the-art facility offers classroom space, a study center to facilitate access to and research of the collection, and a versatile exhibition space. By bringing the classroom into the museum, the Wellin functions as an exceptional teaching tool, available to students and faculty alike. The museum also serves the broader community, encouraging observation, exploration, and engagement through its presentation of exhibitions on the cutting edge of art, art scholarship, and research in other disciplines.

The Museum of North Idaho collects, preserves and interprets the history of the Coeur d'Alene Region. to foster appreciation of the area's heritage.

The Columbia Museum of Art celebrates outstanding artistic creativity through its collection, exhibitions and programs, interacting in ways that engage the mind and enrich the spirit.
South Carolina's premier international art museum houses a world class collection of European and American fine and decorative art that spans centuries. In recent years, the Museum's collection of Asian art and Antiquities has grown through generous gifts to the collection. Founded in 1950, the museum opened its new building on Main Street in 1998 by transforming an urban department store into a sleek and airy, light-filled space with 25 galleries. The collections include masterpieces of the Italian Renaissance and Baroque from the Samuel H. Kress Collection, works by significant furniture and silver makers, as well as modern and contemporary art from the present time. Of particular interest are Sandro Botticelli's Nativity, Claude Monet's The Seine at Giverny and art glass by Louis Comfort Tiffany. The Museum also offers changing exhibitions from renowned museums and educational programs that include group and public tours, lectures, films and concert series.

The museum had historically focused on European and American art up through the early modern period, but in recent years has branched into more contemporary art exhibits and a permanent photography collection. Highlights of its permanent collection include early Cubist paintings by Picasso and Juan Gris, and works by Cézanne, Boucher, Ingres, Degas, Matisse, Monet, Edward Hopper, and Norman Rockwell. The Museum also has a substantial collection of paintings by Columbus native George Bellows. Its photography collection includes works by Berenice Abbott and Eugène Atget.
Source Wikipedia

The Southeast Museum of Photography (SMP) is an independent academic and public-service unit of Daytona State College. The museum opened in 1992 and is one of 13 facilities in the US dedicated exclusively to photography, and one of only a handful of such institutions nationally, that share a scope, reach and depth of collection and activities in this specific field. It is Florida's most comprehensive museum of photography and the largest in the southeast.
In a typical year there are six exhibition seasons presenting solo, survey, vintage, thematic and various forms of retrospective exhibitions numbering about twenty. In recent years there has been a considerable increase in the number of exhibitions and programs directly presenting works significant to Florida and/or produced by Florida artists. The museum has also directed more of its curatorial efforts into generating, researching and developing new exhibitions directly. Exhibitions and public programs in photography bring many of the world's most renowned artists and photojournalists to the museum and to Florida. The goals of museum programs and exhibitions reflect the interdisciplinary mission of the museum. SMP exhibitions explore concepts of culture and the role of the visual in shaping memory, identity and history. Numerous points of entry are set for an audience that lead to a broader appreciation and understanding of the issues examined. One of the museum's principal objectives is to demonstrate photography's role and function as both a means of representation and a tool for individual expression.

The Art Museum presents an annual exhibition and events calendar with award-winning, original curated exhibitions and national traveling shows that deeply explore thematic topics of visual culture. We work to explore and foster appreciation of art and visual culture's capacity to communicate the diversity of the human experience, making global interconnections for our visitors. While contributing to the university's educational curriculum, the Art Museum also adds to a thriving regional community.

Anthony & Delisa Mayer Photography Gallery, Level 7, North Building The Anthony and Delisa Mayer Photography Gallery, which opened in 2010, has allowed the photography department to present works from its holdings—from Denver Art Museum favorites to pieces previously unseen—and to display photographs on loan from outside sources in a series of celebrated exhibitions.
The Collection In 2008, the DAM established the photography department to consolidate future acquisitions, exhibitions, and care of photographs in a dedicated curatorial department. Despite being a young curatorial department, the photography collection holds works of nationally noted significance and objects which guide new opportunities for collecting. The department’s inaugural exhibition, Exposure: Treasures from the Vault, was recognized as Denver’s best group photography show in 2011 by Westword, while the Denver Post awarded Eric Paddock the honor of “curator of the year” for the exhibit. The department also has hosted major travelling shows, such as Robert Adams: The Place We Live—A Retrospective Selection of Photographs, organized by the Yale University Art Gallery. In 1937, the Denver Art Museum made a far-sighted decision to begin collecting photographs with the native arts department purchase of a complete set of Edward S. Curtis’s landmark photogravure series, The North American Indian. From that year until 2008, seven curatorial departments within the museum formed independent photography collections—in the process compiling more than 7,000 images that span the history of photography, from 1845 to the present. Although a large number of photographs were collected during this time, acquisitions were frequently conducted without coordinated oversight or collaboration. The photography department is recognized for its extensive holdings of nineteenth century work, notably of the American West. The Daniel Wolf Landscape Photography Collection encompasses the work of photographers from Maine to California, and gives special emphasis to Western landscapes by acknowledged masters such as William Bell, W.H. Jackson, Timothy O’Sullivan, Andrew Joseph Russell, Adam Clarke Vroman, and Carleton E. Watkins. Additional nineteenth century holdings include recent acquisitions of masterworks such as William Henry Fox Talbot’s 1845 A Scene In York and several Henry Bosse cyanotypes from the album, Views on the Mississippi River. Collectively, the museum’s works of early photography reflect both the achievements of the medium’s outstanding practitioners and the shifting environmental attitudes of nineteenth century Americans. European Modernism is an additional strength of the photography collection, and one with significant affinity to artworks and other materials in the museum’s Herbert Bayer Archive. Important photographs by Bayer, Frantisek Drtikol, Jaromir Funke, Gyorgi Kepes, Man Ray, and others express the spirit of Modernist vision and show the remarkable command of technique instilled through experiment. Works of American Modernism by Berenice Abbott, Laura Gilpin, Edward Weston, and others show how similar approaches to light and form expressed in quite different responses. Photographs in the collection from the second half of the 20th Century respond to changing perceptions and values, both in the art world and in the world at large. The museum’s substantial collection of Robert Adams photographs addresses environmental dilemmas in the American West through plain-spoken images of human-altered landscapes. Works by Diane Arbus and Larry Clark find dignity, frailty, and pathos in the marginalized. And the museum’s extensive holdings of Garry Winogrand photographs cull generous, humorous, and sometimes startling, stories from the chaos of everyday life in the streets.

Since 1970, photographers have frequently blurred the line between the medium and other artistic disciplines. The department has collected outstanding examples of contemporary photographic work to parallel the DAM’s modern and contemporary art collection. Works by artists such as Chuck Close, Petah Coyne, and Tom Friedman display the rich cross-fertilization that occurs when painters, sculptors and conceptual artists explore new ideas through photography. Other pieces, by David Levinthal, Cindy Sherman, and Lorna Simpson push the conventions of photography to new limits and expand our understanding of what the medium can be, while photographs by international artists, such as Shirin Neshat and Liu Wei exhibit the exchange of ideas that is possible in today’s universally connected world.

The heart of a great museum is its collection and The Detroit Institute of Arts is proud to claim one of the largest, most significant art collections in the nation. From the first painting donated in 1883 to the most recent acquisition, our collection of over 60,000 works brings the culture and creativity of the world to Detroit's doorstep. Ranging from classic to cutting-edge, the works housed in the DIA will challenge perceptions and enrich perspectives, leaving you with a fresh outlook and a jolt of inspiration. One of the museum's most varied collections, the collection features a wide range of works on paper. With approximately 35,000 prints, drawings, photographs, watercolors, posters and artists books, the collection stretches from the present day back to the 1500's and includes a diverse assortment of media. Although artists of many cultures are represented, the collection is especially strong in European and American works.

The Nasher Museum of Art at Duke University owns more than 10,000 works of art. The Nasher Museum was founded in 1966 as the Duke University Museum of Art with the acquisition of 200 medieval works from the Ernest Brummer Collection. In 2005, the museum opened a new 65,000-square-foot facility designed by Rafael Viñoly and was renamed the Nasher Museum of Art at Duke University, in honor of the late Raymond D. Nasher, Duke alumnus, collector and benefactor. The Nasher Museum holds one of the best collections of medieval art among North American university museums. It is also one of the few institutions to focus on significant purchases of works by contemporary artists of African descent, which capitalizes on curatorial and faculty expertise. In the galleries, rotating installations from our permanent collection feature selections of contemporary art, Outsider art, classical antiquities, European medieval art, European and American paintings, African art and ancient American (Pre-Columbian) art.

From the beginning over 80 years ago, the holdings have grown significantly in size and scope. In the early 1960’s, the collection began to focus on the artists who have lived and worked in the region, including some of the country’s most celebrated painters, sculptors, photographers and graphic artists. It was not until 1970 when the then Dewey Wing, with climate-controlled art storage and processing facilities, was added that collecting started in earnest. In 1973, the museum received the distinction of being accredited by the American Alliance of Museums, and it was reaccredited in 2010. Today, the holdings of the 19th, 20th and 21st century art include paintings, sculpture, prints, watercolors, photographs and drawings by internationally distinguished artists such as Pollock, Krasner, deKooning, and Lichtenstein. The museum continues to acquire works by donation and acquisition. The year-round schedule of changing exhibitions includes both one-person and group shows, the annual Members Exhibition and the Student Arts Festival.

Photography at the JSMA began in 1965 with an acquisition of prints by American photographer Edward Weston. Work by Wynn Bullock, Paul Caponigro, Imogen Cunningham, Brett Weston and Minor White soon followed. Since then the collection has grown in depth and diversity. Historical photographic processes are represented by vernacular tintypes and daguerreotypes as well as 19th century cliché-verre by French artist Corot. SX-70 Polaroid prints by Andy Warhol and chlorophyll photographs by Binh Danh offer a range of portraiture distinctly marking their place in time. Work by Bill Brandt, Brassai and Frederick Evans connect the collection to modern Europe. New acquisitions by photographers Elsa Mora, Taitiana Parcero, Yu Hang and Yang Yongliang extend the collection’s reach into contemporary Latin America and Asia.

With nearly 5,000 artworks, the permanent collection of the Block Museum boasts rich and diverse holdings of works on paper, textiles and a number of monumental bronze sculptures. Prints—the core of the Block’s collection—and photographs bring to life the museum’s mission: the study and exhibition of reproducible art forms. Ranging from the 15th century to the present, the collection features work by Albrecht Dürer, Honoré Daumier, Mary Cassatt, Max Beckmann, Andy Warhol, Ed Paschke and many others. Highlights include: • Architectural drawings by Walter Burley and Marion Mahony Griffin • Prints, drawings and photographs produced under the Works Progress Administration and the Farm Security Administration • Intaglios from fine print publisher Riverhouse Editions • Computer generated works on paper from the 1950s to today • Works by Chicago artists

More than 1,600 photographic images -- cased photographs, cabinet cards, cartes de visites, glass plate negatives, lantern slides, mounted and un-mounted prints, passe-partouts, stereographs, and tin types -- comprise the Hill-Stead photography collection. Of note are twenty photographs taken by Gertrude Käsebier, including seven of her "art" photographs, nearly 400 photographs taken by Theodate Pope Riddle, and a small collection of 20 autochromes unfaded in color. Also included in the collection is a selection of photos by Karl Klauser.

The University Art Museum’s permanent collections consist of approximately 3000 objects in a variety of media including prints, photographs, paintings, sculpture, textiles and ceramics. Significant holdings include 19th and 20th century African objects and textiles, modern and contemporary works on paper, Soviet era photography, 19th and early 20th century Japanese prints, and a collection of over 250 prints by the 19th century lithographer and social critic, Honoré-Victorin Daumier. These collections are particularly significant in reflecting Colorado State University’s long-standing dedication to international research, development and understanding.

Founded in 1958, NSU Art Museum is a premier destination for exhibitions and programs encompassing all facets of civilization’s visual history. The Museum is located midway between Miami and Palm Beach in the heart of downtown Fort Lauderdale, one of the fastest growing areas in the U.S. Its distinctive modernist building, which opened in 1986 was designed by the renowned architect Edward Larrabee Barnes and is a dynamic cultural hub in Fort Lauderdale’s Arts and Entertainment District. The Museum is a short walk to the shops, restaurants and galleries of vibrant Las Olas Boulevard as well as to the picturesque Riverwalk waterfront promenade. NSU Art Museum’s 83,000 square-foot building contains 25,000 square feet of exhibition space, a 256-seat auditorium, Museum Store and Cafe. Art classes for adults, children and teens are offered throughout the year.

The Amon Carter houses over 40,000 photographic prints, making the museum one of the country’s major repositories of American photography. The holdings span the history of the photographic medium, from one of the earliest daguerreotypes made in this country to inkjet prints being made today.

Nineteenth-Century Photographs

Among the earliest works in the collection is a calotype of Ojibway Indian Peter Jones, made by David Octavius Hill and Robert Adamson in about 1845. Equally rare is the Amon Carter’s series of daguerreotypes documenting the United States’ war with Mexico in 1846–48. The later nineteenth-century photographs in the collection include Alexander Gardner’s sketchbook of the Civil War and several hundred landscapes by expeditionary photographers such as John K. Hillers, William Henry Jackson, Timothy O’Sullivan, A.J. Russell, and Carleton E. Watkins. Also represented are works by Mathew Brady, William Stillman, and the great daguerreotypists Albert Southworth and Josiah Hawes.

Twentieth-Century Photographs

The Amon Carter is also a repository for works by twentieth-century photographers such as Ansel Adams, Carlotta Corpron, Roy DeCarava, Robert Frank, Laura Gilpin, Lewis Wickes Hine, Barbara Morgan, Charles Sheeler, Alfred Stieglitz, Paul Strand, Willard Van Dyke, Edward Weston, and Minor White. A particular strength of the collection is early twentieth-century pictorial photography, including work by Gertrude Kasebier, Clara Sipprell, Karl Struss, and Clarence White. More than 500 portraits and New York scenes by Berenice Abbott–along with numerous Farm Security Administration photographs by Walker Evans, Dorothea Lange, Russell Lee, Arthur Rothstein, Ben Shahn, and Marion Post Wolcott–are housed in the collection as well. In addition, there is an extensive collection of photographs made in Texas during the 1940s as part of a Standard Oil of New Jersey photography project directed by Roy Stryker; there are another 150 photographs of contemporary Texas by sixteen photographers from a sesquicentennial project commissioned by the Texas Historical Foundation. In 1979, the museum commissioned Richard Avedon to produce a series of photographs of people in the American West, and his 124 photographs, completed in 1984, are central to the contemporary photography collection.

The Photography collection covers a broad spectrum of work from 19th century daguerreotypes to large-scale contemporary color prints. A major strength of the collection is the in-depth representation of works by Jerry Uelsmann, the innovative experimenter who established the University of Florida as a center for photographic studies. The collection also features numerous other leading artists and educators who have either taught or been a student at UF including Robert Fichter, Todd Walker, William Parker, Evon Streetman, Doug Prince, Bea Nettles, Sergio Vega, Andrea Robbins and Max Becher, and others. The Harn’s collection began with the University Gallery’s acquisition of important works by noted photographers including Robert Frank, Irving Penn, Wynn Bullock and Minor White, but photography has become a collecting focus only in recent years with the 2002-2004 acquisitions of works by diverse influential contemporary artists such as Rineke Dijkstra, Cindy Sherman and Alan Sekula. The goal to build on the strengths of these contemporary works and represent key photographers in increased depth has begun to take shape. The Harn recently acquired 75 photographs by Brazilian artist Sebastião Salgado and over 20 works depicting celebrities and nudes by Len Prince in collaboration with Jessie Mann.

The Rowan University Art Gallery & Museum is a dynamic cultural hub located in the heart of South Jersey, dedicated to presenting contemporary art that is both relevant and thought-provoking. Serving the Rowan community and the broader region, the gallery fosters an environment where inclusivity, dialogue, and creative exchange thrive. It offers a platform for interdisciplinary engagement, connecting artists, students, faculty, and the public through exhibitions, talks, and collaborative programs.

At the core of its mission is a commitment to showcasing diverse artistic voices that challenge perspectives and reflect current cultural and social issues. The gallery not only enhances the cultural life of the university but also contributes to the artistic landscape of the region, encouraging curiosity and a deeper understanding of contemporary art practices.

Rowan’s gallery and museum program operates across two primary venues. The 301 High Street Gallery presents curated exhibitions by professional artists and is conveniently situated at the intersection of campus and downtown Glassboro, making it a vibrant space for both student interaction and public visitation. Meanwhile, CASE Gallery @ Westby, housed within Westby Hall, serves as a unique site for exploring social issues through creative expression, with a permanent feature of *The Sister Chapel*, a landmark feminist collaborative installation.

The gallery regularly collaborates with academic departments across disciplines such as engineering, sociology, gender studies, and environmental science, fostering projects that reflect the interconnectedness of art and society. It has hosted exhibitions by internationally acclaimed artists like Mel Chin, Willie Cole, Saya Woolfalk, and Wendy Red Star, among others.

Recognized for its excellence, Rowan University Art Gallery has received honors such as the New Jersey State Council on the Arts Citation of Excellence and support from the National Endowment for the Arts, underscoring its impact as a leading center for contemporary art in the region.

Concurrent with the painting collection the Bruce Museum has acquired a sizeable collection of drawings and prints ranging from Leonard Ochtman to Robert Rauschenberg. The photography collection is growing rapidly thanks to generous recent gifts. Included here are works by Carl Mydans, Henri Cartier-Bresson, Larry Fink, Mike Disfarmer, Garry Winogrand and many others.

Presenting exhibitions of regional, national, and international art year-round, The Grinnell College Museum of Art is the nucleus of Grinnell’s Bucksbaum Center for the Arts. Temporary exhibitions and a permanent collection of more than 6,000 objects offer diverse classroom and research learning opportunities, and with a variety of creative outreach programs — including lectures, readings, concerts, performances, even yoga — the museum is a valuable link between the College, the community, and the wider region.

Photography is a growing part of the collection, in part due to the interest of Dartmouth alumni who collect in this area and have been generous to the museum in their gifts, and in part due to an interest in acquiring the work of African and non-Western artists. The post-1945 period is represented by portfolios of such gifted artists as Larry Fink, Todd Papageorge, Stephen Shore, Harold Edgerton, Gary Winogrand, Ralph Meatyard, Olivia Parker, and others. A large recent gift of over six hundred works by the artist Sonia Landy Sheridan, many of them photo-based, shows the ways in which this inventive artist tackled the new imaging techniques of recently invented types of photocopiers in the 1960s and 1970s. Another large donation of approximately one thousand works by Russian photographer Dimitri Baltermants, as well as work by other documentary photographers such as James Nachtwey and Ed Grazda, have increased the museum’s holdings of journalistic photography. Several strange and darkly humorous images by Les Krims are complemented, for instance, by contemporary digitally manipulated photo-based work by Lorna Lux and Luis Gispert. Renée Cox, Carrie Mae Weems, and African artist Berni Serle touch upon constructions of race, while Fazal Sheikh turns his camera to documenting the dignity of African refugees. Other recent acquisitions include an odalisque figure by African photographer Malick Sidibe, a piece on Native American assimilation by Bobby C. Martin, and an image of pregnancy by Cameroonian photographer Angele Etoundi Essamba. A recent gift of a color photograph by Ed Burtynsky from his Shipbreaking series is joined by the recent purchase of Dutch artist Rineke Dijkstra’s tough self-portrait taken immediately after she had exhausted herself doing laps in an indoor pool as part of her rehabilitation from an accident. In new media, the museum has acquired a work from Bill Viola’s Passions series, a photo-and-text work on the Rwandan genocide by Alfredo Jaar, as well as a video diptych by Lorna Simpson titled Corridor.

Since its founding in 1844, the Wadsworth Atheneum has presented the artists of its own time, from Thomas Cole and Frederic Church to Salvador Dalí, Piet Mondrian, Andy Warhol and Sol LeWitt. The Contemporary Art collection encompasses works created from 1945 to the present with strong examples of Abstract Expressionism, Color Field painting, Pop art, Conceptual art, and recent movements in painting, sculpture, photography and video. Supplemented by acquisitions from its groundbreaking MATRIX exhibition program—launched in 1975—the collection includes work by many past MATRIX artists, such as John Baldessari, Duane Hanson, Christian Jankowski, Ellsworth Kelly, Glenn Ligon, Lee Lozano, Robert Hill-Stead MuseumMapplethorpe, Cindy Sherman, Lorna Simpson, and William Wegman.

The Hofstra University Museum, the only American Association of Museums accredited university museum on Long Island, has a permanent collection that is one of the most valuable university collections in the New York metropolitan area. The Museum’s permanent collection contains more than 4,600 objects spanning 5,000 years of human history and representing 6 continents. The collection includes major works of art by American and European modern era artists in painting, sculpture, photography, prints and other works on paper, along with Asian, Oceanic, African and Pre-Columbian art.

Over the past 120 years, the Museum’s world renowned scientists have acquired 24.7 million items telling the full story of Hawai‘i and the Pacific. These items include over 1.3 million cultural artifacts representing Native Hawaiian, Pacific Island, and Hawai‘i immigrant life deriving from the museum’s rich legacy of research in Hawai‘i and the Pacific. They also include more than 115,000 historical publications, 1 million historical photographs, films, works of art, audio recordings and manuscripts.

The de Menils assembled a photography collection in keeping with their interests in humanitarian issues. As a result, portraits comprise most of the collection, with many subjects being of a social documentary nature. Landscapes also number in the collection, as do works by the Surrealists. Notable artists in the collection include Eugène Atget, Gertrude Blom, William Christenberry, William Eggleston, Olafur Eliasson, Walker Evans, Gertrude Kasebier, David Levinthal, Danny Lyon, Nadar, Cindy Sherman, Edward Steichen, and Paul Strand. The collection also includes approximately 500 images by Henri Cartier-Bresson, selected for the Menil by the artist himself.

The Target Collection of American Photography
The Target Collection contains significant images by artists whose works are considered the basis of the tradition of American photography, including Imogen Cunningham, Robert Frank, Dorothea Lange, Paul Outerbridge, Herb Ritts, Joel Sternfeld, Alfred Stieglitz, Paul Strand, James Van Der Zee, Catherine Wagner, William Wegman, and Edward Weston. Begun with a visionary corporate gift in 1976, the Target Collection of American Photography has grown to comprise more than 22,000 works of art. In addition to documenting seminal moments in American history, the collection demonstrates a variety of approaches to the medium by artists whose perspectives have affected contemporary photographic practices.

The Allan Chasanoff Photographic Collection
Allan Chasanoff relishes pictures that puzzle him, and he wants others to enjoy these surprises. He built his collection of 20th-century photographs by questioning what occurs when the camera “captures” the real world but the resulting image creates confusion rather than clarity, challenging photography's reputation as a dependable document. In 1991, the New York-based collector donated nearly 1,000 works to the MFAH by photographers ranging from Ansel Adams, Richard Avedon, and Joel Peter Witkin to relatively unknown artists.

The Contemporary Arts Museum Houston is a non-collecting institution dedicated to presenting the best and most exciting international, national, and regional art. Founded in 1948, the Museum prides itself on presenting new art and documenting its role in modern life through exhibitions, lectures, original publications, and a variety of educational programs and events.

The Contemporary Arts Museum Houston occupies an iconic stainless steel building in the heart of the Houston Museum District. This highly recognizable building was designed for the Contemporary Arts Museum Houston by the award-winning architect Gunnar Birkerts and opened in 1972.

Two gallery spaces offer eight to ten exhibitions each year. The Major Exhibition Series, presented in The Brown Foundation Gallery, features work by leading internationally-recognized artists working at the vanguard of contemporary art, as well as thematic exhibitions organized around questions central to the nature of art and life today. The Perspectives Series, presented in the Zilkha Gallery, introduces the work of emerging and established artists. Each exhibition is accompanied by an appropriate publication, designed for use by scholars and the general public, which provides lasting documentation of the exhibition and contributes to original knowledge and scholarship about contemporary art and the international discourse around it.

BLAFFER ART MUSEUM furthers the understanding of contemporary art through exhibitions, publications, and public programs of merit and distinction. As the GATEWAY between the University of Houston and the City of Houston, Blaffer Art Museum is a CATALYST for creative innovation, experimentation, and scholarship. Its exhibitions and programs are FREE AND OPEN TO THE PUBLIC, create community through dialogue and participation and inspire an appreciation for the visual arts as a VITAL FORCE in shaping contemporary culture.

The Heckscher Museum of Art’s collection spans 500 years of Western art with particular emphasis on the nineteenth and twentieth centuries. Established in 1920 with a gift from August Heckscher of 185 works, the collection now numbers more than 2500 pieces by American and European artists. American landscape painting and work by Long Island artists, past and present, are particular strengths, as is American and European modernism. Photography is a growing part of the collection. In photography, the Museum has extensive holdings of the work of Berenice Abbott, Larry Fink, and Eadweard Muybridge. The collection recently received an important gift of Man Ray’s Electricité portfolio of 1931, consisting of ten rayographs commissioned by a Parisian electric company, the Compagnie Parisienne de Distribution d'Electricité (CPDE), to promote the domestic uses of electricity.

The contemporary collection represents diversity in the truest sense of the word. The collection consists of copious materials from photographs, beadwork, works on paper and canvas, to beaver fur and hides, traditional paintings and large installation pieces incorporating several mediums. The diverse nature of the materials is a reflection of the range of artists and cultural traditions found in the collection. African American artists Alison Saar and James Watkins share the experience and manifestations the caldron had on their lives. Latino traditions are rooted firmly in the Santero carving of Sergia Tapia’s Offrenda, commemorating September 11 bombing of the World Trade Tours. The collection recognizes any artist working in the West today doing any type of work they desire. While there is recognizable imagery in a lot of the work, it also represents works that are non-representational such as the work of Harry Fonseca (Maidu/Niseman, Portuguese, Hawaiian) who’s painting is inspired by Navajo blankets or James Lavadour’s (Walla Walla) multifaceted landscapes influenced by hiking through the mountains. One of the great strengths of the collection is the Native American contemporary art collected through our biennial program, the Eiteljorg Contemporary Art Fellowship. Since 1999 the Eiteljorg Museum has awarded nearly one million dollars directly to artists, produced seven catalogs, employed many Native and non-Native scholars as writers and presenters and purchased over 200 works of art from 40 Native American and First Nations artists. This has given the museum what is considered one of the most important collections of Native contemporary art in the world. The unique nature of the Eiteljorg contemporary collection lies in the cultural, geographic and traditions represented.

Whether you are looking for experiences with art, nature, food, or performance, you will find a variety of experiences throughout our 152-acre cultural campus. I invite you to explore all that Newfields has to offer, including our galleries at the Indianapolis Museum of Art, The Garden, Lilly House, The Virginia B. Fairbanks Art & Nature Park: 100 Acres, and our dynamic performance spaces. With more than 26,000 works on paper, from medieval manuscripts to contemporary photographs, IMA’s collection of prints, drawings and photographs is its largest permanent collection. Photographs by William Henry Fox Talbot, Julia Margaret Cameron, Alexander Rodchenko, Brassai, Robert Frank and Diane Arbus.

The Stanley Museum of Art welcomes the University of Iowa community, all Iowans, and the world to discover and enjoy extraordinary works of art, explore new ideas, and cultivate new insights into history, culture, and the act of creation. We build diverse communities around our collections by fostering creative connections across the university, the state, and the world. Through the wise stewardship and dynamic presentation of the collections in our care, the Stanley encourages transformative encounters with works of art and contemplation of the human story. The collection area of European and American works on paper created between 1900 and 1970 includes many fine examples of technical experimentation, intellectual inquiry and aesthetic expression.

The photography collection at the Johnson Museum began with a bequest of forty-eights works from William P. Chapman, Class of 1895. These included predominantly Pictorialist photographers Alvin Langdon Coburn, Gertrude Käsebier, Clarence White, and Alfred Stieglitz. The photography collection has grown steadily and now numbers nearly six thousand works, representing the history of the photographic medium, from early examples by William Henry Talbot, Hill and Adamson, and Julia Margaret Cameron to the work of present-day photographers. In addition, we have in-depth collections of the work of Cornell graduate Margaret Bourke-White as well as Robert Frank, Berenice Abbott, Leon Levinstein, Ralph Meatyard, and William Klein. In 2012 the new Rona Hollander Citrin ’80 and Jeffrey Citrin Photography Center will open, providing new opportunities for the Museum to integrate the study of photography into Cornell's curriculum and to ensure that the collection is seen, studied, and taught to its maximum potential. With a few examples of early work, the video collection mainly represents the Johnson’s recent engagement with the medium. The future Picket Family Gallery will provide a dedicated space for video and other time-based art.

The Mississippi Museum of Art has amassed a meaningful survey of American art, including paintings by Albert Bierstadt, Arthur B. Davies, Robert Henri, George Inness, Georgia O'Keeffe, Reginald Marsh, Thomas Sully and James McNeill Whistler. Among the photographs, prints and unique works on paper are images by Romare Bearden, Alexander Calder, Mary Cassatt, William Eggleston, Walker Evans, Jacob Lawrence, John Marin, Cindy Sherman, and Andy Warhol. Works by John DeAndrea, Malvina Hoffman, Paul Manship, Elizabeth Catlett Mora and Reuben Nakian highlight a growing collection of sculpture. American Indian baskets and more than 170 southeast outsider art objects--including works by artists Annie Dennis, Howard Finster, Earl Simmons, Jimmie Lee Sudduth, Sarah Mary Taylor and Mose Tolliver--are important parts of the collection.

MOCA Jacksonville primarily collects work from 1960 to the present. The Museum’s permanent collection currently consists of nearly 1,000 works of art, including painting, printmaking, sculpture, and photography. Artists represented in the collection include Hans Hofmann, Alexander Calder, Alex Katz, Robert Longo, Helen Frankenthaler, Robert Rauschenberg, Paul Jenkins, Jules Olitski, Philip Pearlstein, Jim Dine, James Rosenquist, and Joan Mitchell. MOCA Jacksonville endeavors to create a permanent collection of significant depth, scope, and quality to be used for study, scholarly research, and exhibition – all tools that foster an education, awareness and experience with contemporary visual art.

These collections enable staff, students, and the public to research topics related to the object collections and enhance Museum exhibits. Significant holdings of photographs include the Northeast Arkansas Photographic Legacy, a project sponsored by the Arkansas Endowment for the Humanities which resulted in 1,200 copies of images of historic significance, and the Curtis Duncan collection of almost 3,000 photographs emphasizing the culture and history of the Mississippi Delta region, as well as several family collections dating from the introduction of the Daguerreotype process in the 1840s. The archive contains holdings of local historical interest. The library holds over 3,000 historic books used in Northeast Arkansas or related to the Museum's collections, featuring several first editions of missionary and pioneer memoirs. An additional 4,000 modern books support research of the collections as well as issues in collections management and Museology. The library is non-circulating, but ASU students and the public are able to research the library collection during normal office hours or by appointment.

The collection, originally developed to complement the KIA's art school, focuses on: American painting, sculpture and ceramics,American and European works on paper, 16th century and later Photography, American art, from eighteenth- and nineteenth-century portraiture and landscape painting to modern and contemporary abstraction and figurative works, is the strength of the KIA's permanent collection.

From an initial gift in 1995 of more than 100 works of art from Museum founders Bebe and Crosby Kemper, the collection has rapidly expanded to include nearly 1,000 works in all media, including painting, sculpture, installations, prints, and works on paper, photography, and time-based media. The earliest work, created in 1913, dates from the same year as the Armory Show in New York, the first international exhibition of modern art, and a watershed event in the history of American art. The collection features works from nearly every year thereafter to the present.

The Photography Collection encompasses the medium’s entire history, from 1839 to the present. It grew from a holding of 1,015 primarily American works to a collection of over 7,500 with the acquisition in December 2005 of the famed Hallmark Photographic Collection, one of the finest private collections of American photography ever assembled. Since that date, further acquisitions and gifts have enlarged the collection to over 8,000 works. Notable artists represented in the collection include such prominent 19th-century figures as Southworth & Hawes, Mathew Brady, George N. Barnard, Carleton Watkins, Timothy O’Sullivan, and Edward Muybridge; such leading 20th-century names as Alfred Stieglitz, Edward Steichen, Edward Weston, Charles Sheeler, André Kertész, Dorothea Lange, Walker Evans, Harry Callahan, Robert Frank, W. Eugene Smith, Diane Arbus and many more. In the Photography galleries, a survey of the creative history of the medium is on view at all times, with new installations presented about three times a year. Medium-scale temporary exhibitions—drawn both from the museum’s permanent collection and borrowed from other institutions—are also presented about three times a year. The Hallmark Photographic Collection The Nelson-Atkins Museum of Art acquired the Hallmark Photographic Collection in December 2005, through a combination gift and purchase. Primarily American in the scope of its holdings, the collection spans the entire history of photography, from the birth of the medium in 1839 to the present. At the time of its acquisition by the Museum, it included more than 6,500 works by 900 artists, with superb examples by virtually all the key American photographers in history. With this acquisition, the Nelson-Atkins immediately assumed a position as one of the premier museums in the world for photography.

See…art representing the work of artist-explorers like George Catlin; early Nebraskans Robert Henri and J. Laurie Wallace; modern era artists Grant Reynard and John Falter, and artists of today. MONA also displays a collection of works by John James Audubon focusing on indigenous Nebraska wildlife. The permanent collection contains over 5,000 works by artists of regional, national, and international importance. MONA is housed in a 1911 building listed on the National Register of Historic Places.

The Knoxville Museum of Art collects works of art of the highest quality in all media from circa 1900 to the present with an emphasis on those representing the most significant recent developments and with greatest local and regional relevance. The collection includes approximately 700 objects representing 20th- and 21st-century works on paper, paintings, mixed media works, sculpture, and fine craft. It continues to grow through gifts from noted artists, galleries, collectors, and foundations, and purchases funded by the Collectors Circle of important works by artists of regional and international significance. Internationally-known artists represented in the collection include David Bates, Charles Burchfield, Tomory Dodge, Robert Longo, Loretta Lux, Dante Marioni, William Morris, Kenneth Snelson, to cite just a few. Choice examples by Catherine Wiley, Lloyd Branson, Joseph Delaney, Walter Stevens, Carl Sublett, Whitney Leland, Richard Jolley, Andrew Saftel and Bessie Harvey represent the development of the visual arts in Eastern Tennessee over the past century.

The Marjorie Barrick Museum (the Barrick), formerly the Marjorie Barrick Museum of Natural History, is a well-known venue for engaging exhibitions and events. Founded in 1969 and located at the heart of UNLV, the Barrick promotes engagement with the visual arts among a broad community including UNLV students, faculty, and staff; the greater Las Vegas community; and the national and international art community. In December 2011, the Barrick joined the UNLV College of Fine Arts and became the anchor of the Galleries at UNLV. The five galleries and one museum that make up UNLV Galleries are each entities in their own right linked through a common administration.

The Max Kade-Erich H. Markel Department of Graphic Arts at the Spencer Museum of Art includes approximately 16,000 works of art on paper (prints, drawings, photographs, and artists' books). The core of our old master collection of prints was given by the Max Kade Foundation, whose president at the time of the gift was the late Erich H. Markel. The collection is acknowledged as one of the nation's premier repositories of graphic arts among university museums because of its depth and breadth and the extensive manner in which it is used in teaching and research. Areas of particular strength include northern and Italian Renaissance prints; seventeenth-century prints; Japanese prints; and nineteenth- and twentieth-century prints, drawings, and photographs.

The Museum of Art permanent collection holds over 5,000 works of art. Selected strengths include The Marsden Hartley Memorial Collection, modern and contemporary works on paper, photographs, select holdings of pre-modern prints, contemporary Chinese art (particularly photographs), pre-Columbian art, African art, and works by Maine artists and artists of national and international significance working in Maine.

The Museum's noteworthy photography collection contains works by photographers such as Eugène Atget, Paul Caponigro, Jan Groover, Ralph Eugene Meatyard, Cindy Sherman, Aaron Siskind, Edward Steichen, and Garry Winogrand. It was decidedly enriched by the 1993 Robert C. May Bequest, which added important photographs by internationally-prominent photographers such as Berenice Abbott, Ansel Adams, Brassaï, Robert Frank, John Pfahl, and Paul Strand in addition to May's archive of more than 800 of his own photographs. Of special note is an important archive of more than 500 photographs by Doris Ulmann. The Robert C. May Photography Endowment Fund supports the purchase of works by, according to the wishes of the donor, "photographers known on a national level." Acquisitions have included: works by Farm Security Administration photographers Marion Post Wolcott and Arthur Rothstein; examples of "street photography" by Helen Levitt, Louis Faurer, Max Yavno, and Weegee; diaristic works by Danny Lyon and Larry Clark; vintage modernist works by Harry Callahan, Harold Edgerton, and Arthur Siegel; and works by contemporary photographers Lynn Geesaman, Lauren Greenfield, Keith Carter, Robert and Shana ParkeHarrison, and Peter Brown.

Over 14,000 photographs and images of Kaua‘i and Ni‘ihau dating from 1778 to the present, including 305 subject files. Significant collections from photographers including William J. Senda, John Valentine, Henry Funk, Theodore Severin, Augustus Knudsen and Francis Gay. Archives include 864 file folders in the general files and special collections include: the Catherine Stauder Collection featuring Early Sailing Ships with Kaua‘i port of calls and Russian Fort Research; WWII Special collections; Ruth Hanner Collection; Grace Buscher Guslander’s Coco Palms files; Ha‘ena Hui; F.B. Wichman’s Kaua‘i Place Name Research Binders; early Sugar Plantation Payroll books from Make‘e and Lihu‘e Plantations and copies of historic maps.

In 1990, Charles W. Guildner set out to photograph the landscape and lives of the people of the rural heartland. His phenomenal series "Lives of Tradition" and an exhibition "Lives of Tradition — Impressions in Silver" at the Great Plains Art Museum were born of this goal. The Great Plains Art Museum will become the home for Guildner's photographs, negatives, and archives.

In 1996 the Museum of Latin America Art (MOLAA) was established in the City of Long Beach by the Robert Gumbiner Foundation (RGF) charged with a mission to build a significant permanent collection of contemporary Latin American art created by those artists who live and work in the Spanish-Portuguese speaking regions of Mexico, Central and South American and the Caribbean. At the time of the museum’s inception, the art collection of the Robert Gumbiner Foundation was the basis of the museum’s effort. Over the past decade and more, the RGF Collection and the MOLAA Permanent Collection have grown to now represent more than over 900 works of art—painting, sculpture, works on paper, photography and video—by more than 350 Latin American artists from the 20 Latin American countries included in the MOLAA mission.

The Longmont Museum was founded in 1936 as part of the St. Vrain Historical Society. In 1940, the first exhibits opened to the public in the carriage house at the Callahan House. The Museum soon outgrew that space, and, in 1954, moved to the basement of the Memorial Building in Roosevelt Park.
In 1954, the Pioneer Museum was informally separated from the St. Vrain Historical Society. This change was made official with the incorporation of the Longmont Museum, Inc., on October 4, 1961.
In 1970, the Museum changed from a private, nonprofit organization to a department of the City of Longmont. Shortly after that, the Museum moved again, this time to a converted Sorenson garage at 3rd and Kimbark. The new space opened its doors on September 13, 1970. In 1973, the garage was torn down and the Museum moved to a converted City warehouse and garage at 375 Kimbark Street.
In November 1999, Longmont voters approved $5 million in a bond issue to build a newmuseum and cultural center. The bond issue was approved by over 77 percent of voters. The Longmont Museum & Cultural Center was further enhanced by an anonymous $1 million gift. Now located at 400 Quail Road, just east of Main Street in south Longmont, the Longmont Museum & Cultural Center invites visitors to come and see our regularly changing exhibits, experience our education programs, and enjoy the views from our Longs Peak Room tower.

The Institute of Contemporary Art, Los Angeles (ICA LA) is a new museum located in Downtown Los Angeles. The ICA LA's revelatory exhibitions of works by international artists, dynamic public programs, and inclusive community partnerships reflect the diversity of Los Angeles and the world, fostering critique of the familiar and empathy with the different. Designed by the interdisciplinary practice wHY under the leadership of Kulapat Yantrasast, the museum's 12,700 square-foot facility features 7,500-square-feet of exhibition space, as well as areas for public programs, offices, and special projects. ICA LA's mission is to support art that sparks the pleasure of discovery and challenges the way we see and experience the world, ourselves, and each other. Founded in 1984 as the Santa Monica Museum of Art (SMMoA), ICA LA builds upon a distinguished history of fostering artistic experimentation with bold curatorial choices, and connecting with various communities via timely, meaningful, and engaging public programs. ICA LA is committed to making contemporary art relevant and accessible for all. Admission is free.

In 2005 the Hammer launched a new initiative to build a collection of contemporary art. This growing collection is led by works on paper, particularly drawings and photographs, but also includes painting, sculpture, and media arts. The focus of the collection is on art created in the last ten years. Particular attention is paid to works by artists from Southern California, but the collection also represents artists working throughout the United States and internationally. When possible, artists are represented in depth, and works are acquired in tandem with exhibitions at the Hammer, particularly from the Hammer Projects series.

The J. Paul Getty Museum at the Getty Center in Los Angeles houses European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and European and American photographs.

The Wallis Annenberg Photography Department has holdings of more than fifteen thousand works that span the period from the medium's invention in 1839 to the present. In addition to gelatin-silver prints and chromogenic-development prints, the collection includes examples of nineteenth-century cased images; twentieth-century experimental processes; contemporary color images; and images that are created, manipulated, and/or printed digitally. Most recently, over 3,500 works from the Marjorie and Leonard Vernon collection were added to the museum’s holdings.

Founded in 1979, MOCA is the only museum in Los Angeles devoted exclusively to contemporary art. The Ralph M. Parsons Foundation Photography Collection : This esteemed collection traces the development of postwar American documentary photography from the 1940s through the 1980s. It encompasses bodies of work by Diane Arbus, Brassaï, Robert Frank, Lee Friedlander, Helen Levitt, Danny Lyon, Roger Mertin, John Pfahl, and Garry Winogrand. Most of the individual series in the collection follow the editing and sequencing the artists chose for publication.

Jack Iwata Collection: The online collection of photographer Jack Iwata includes 166 photographs and copy negatives taken at Manzanar and Tule Lake concentration camps between 1942 and 1945.
Toyo Miyatake Studio / Rafu Shimpo Collection: This online collection is a selection from over 9,500 negatives and photographs taken by the photographers of the Toyo Miyatake Studio for the Los Angeles-based Rafu Shimpo, one of the oldest and most widely read Japanese American newspapers in the country, documents Los Angeles' Japanese American community from 1950 to 1988.

The growing collection includes artifacts, costumes, paintings, drawings, photographs, documents, oral histories and vernacular objects such as: cobblers tools, cooking utensils, quilts, amusement park prizes, opera glasses, chimney pots and various architectural details, business ledgers and advertisements, bottles and crocks, a collection of beer paraphernalia, and handmade cast nets for fishing and net making tools. The collection is informed by a body of research.

A new idea
Troubled by development encroaching upon rural Kentucky’s farmlands, preservationists and contemporary art collectors Laura Lee Brown and Steve Wilson sought to reverse the trend toward suburban sprawl by making a considerable contribution toward revitalization efforts in their hometown. Pairing this desire with a second of their passions, to make contemporary art a part of more peoples’ daily lives, the couple embarked on a journey to create both an economic driver for the community and an oasis where art challenges and amuses, stimulates conversation and provokes new ideas.

Ideas into action
The pair partnered with world-renowned architect Deborah Berke to reimagine and rehabilitate a series of 19th century tobacco and Bourbon warehouses along downtown Louisville’s West Main Street into a boutique hotel and a contemporary art museum. Could art and commerce coexist in harmony? Brown and Wilson trusted their intuition and sought to test their theory.

In 2006 they opened 21c Museum Hotel Louisville. Much more than just a place to spend the night, 21c is an innovative union of genuine Southern hospitality, thoughtful design, and culinary creativity — all anchored by world-class contemporary art by today’s emerging and internationally acclaimed artists (hence the name, paying homage to the 21st century).

The permanent collection is key to the museum's mission to preserve and interpret visual art for the education and enjoyment of the public. As a result of generous gifts and museum purchases, the collection now numbers some 5,000 objects. The collection includes works by some of the most significant American artists of the twentieth and twenty-first centuries. A portion of works in the collection reflect significant exhibitions presented by the museum; Wisconsin-based artists are also well represented. The museum's collection traces its origins to a major gift from Rudolph and Louise Langer in 1968. Through ongoing support from donors, it has become a valuable community resource, assuming a vital role in fulfilling the museum's mission to preserve and interpret visual art for the enrichment and enjoyment of the general public. The collection has been the inspiration for numerous exhibitions in recent years, including La vida en marcha: Mexican Prints from the Permanent Collection (2003); In Depth: A Closer Look at MMoCA's Permanent Collection (2007); and Something Wicked This Way Comes (2009). Works from the collection figured prominently in solo exhibitions such as Selections from the Collection: Ed Paschke (2001) and John Buck (1999). Work in Progress: The Madison Art Center Collects (2000) documented the foundation, growth, and future of the collection as the museum approached its 100th anniversary.

The Chazen’s photographs were all created after World War II. W. Eugene Smith and Larry Towell, both represented by multiple works in the collection, are considered journalistic photographers also recorded their aesthetic and personal lives. This area of photography, where individual vision and purposeful reporting collide, represents an area of continuing interest and debate in the medium. Photographs created from the 1950s through the1980s include images by Ralph Gibson, Gary Winogrand, Elliot Erwitt, and Aaron Siskind. Their work ranges from introspective meditations on the visual world to snapshots of street encounters to explorations of the lush possibilities of color. A small number of works by contemporary artists use photography as part of a mixed-media process, including the tortured images of Joel Peter Witkin, a staged mythical scene set by Diane Blell, and imaginative photogravures of Laurie Simmons.

Contemporary art (post-1945) at the Currier includes paintings, sculptures, prints, and photographs as well as decorative arts with particular strength in studio ceramics. The Currier Museum of Art's collection contains about 12,000 American and European works of art, representing nearly every medium. The Currier's Modern Art collection includes paintings, sculptures, prints, and photographs by key figures at the center of avant-garde circles in Europe and America at the beginning of the twentieth century.

The Marianna Kistler Beach Museum of Art offers an in-depth look at Kansas art and brings art and artists from around the world to the heart of Kansas. The museum’s collection continues to focus on the art of Kansas and the region. We aspire to provide diverse experiences that strengthen the community's enjoyment and understanding of visual arts and the creative process. We believe art is a natural common ground, representing creativity and promoting discussion for all disciplines. We invite you to explore with us and encourage you to think anew about personal experiences, sense of place, and the world of knowledge.

At this time the collection encompasses approximately 100,000 objects in 94 categories. Included among the 94 categories are paintings and prints, ceramics, glass, photographs, textiles, costumes, military artifacts, city records, agricultural equipment, Native American objects, quilts, books, musical instruments, medical equipment, furniture, toys, household equipment, circus memorabilia, and many other items. The largest collections in the Massillon Museum are photographs, household artifacts, costumes, china, glass, pottery and circus memorabilia.
The Museum's barnraising photograph, taken by Theodore C. Teeple in the 1880s on the site of present-day Shady Hollow Country Club's clubhouse, has been used all over the world: murals in embassies and art centers, the cover of the national United Way annual report, re-enacted as a float in the Rose Bowl Parade, in textbooks of many languages, and as a poster promoting the U.S. Postal Service voluntarism stamp.


The Museum is home to 60,000 photographs

The Brooks’ collection of works on paper consists of more than 5,000 prints, drawings, photographs, and artists’ books. It spans nearly six centuries but is strongest in early-20th century American works. These collections are periodically displayed in the permanent collection galleries and in smaller thematic presentations throughout the museum.

The Frost Art Museum’s collection is a melding of several distinctive collections: the General Collection, the Metropolitan Museum and Art Center Collection and the Betty Laird Perry Emerging Artist Collection. The General Collection holds a strong representation of American printmaking from the 1960s and '70s, photography, Pre-Columbian objects dating from 200-500 AD, and a growing number of works by contemporary Caribbean and Latin American artists. The Museum continues to expand the collection through private donations, purchases and acquisitions. The Metropolitan Museum and Art Center Collection, was donated to the Frost Art Museum in order to ensure its intact survival in 1989, when the Metropolitan Museum and Art Center of Coral Gables closed. This collection of more than 2,300 objects includes sculptures, photographs, and paintings by major 20th century figures, an extensive collection of American prints from the 1960s; major sculptural works; important photographs; rare Japanese Netsukes and ancient bronzes from Asian and African cultures. In support of the University’s studio arts program, the Betty Laird Perry Emerging Artist Collection is comprised of artworks obtained through purchase awards granted to selected BFA and MFA students graduating from the program since 1980. Numerous award recipients have continued to garner national and international recognition as mature artists.

Pérez Art Museum Miami was originally founded as the Center for Fine Arts, and was strictly an exhibiting organization with no collection of its own. In 1996, as part of an institution-wide reorganization, the museum was renamed Miami Art Museum and dedicated itself to collecting and exhibiting international art of the 20th and 21st centuries with a special emphasis on art of the Americas. Since then, the collection has grown steadily and now comprises more than 1,300 works across a range of media. The new Pérez Art Museum Miami in downtown Miami’s Museum Park will strengthen the Museum’s role as a vital cultural and educational center and provide generous spaces to showcase the Museum’s art holdings and attract more top caliber exhibitions.

In 1998, Martin Z. Margulies along with his longtime curator Katherine Hinds began looking for a suitable space to display the growing collection of photography, video and installation works, and sculpture of the Margulies Contemporary Art Collection. In 1999, the first phase of the Margulies Collection at the Warehouse opened to the public with an event to benefit the Lowe Museum at the University of Miami. After a series of expansions, the Warehouse now comprises 45,000 square feet of exhibition space with set hours each week.
Miami art maven Martin Margulies welcomes the public on Friday and Saturday afternoons to this enormous, converted warehouse in the Wynwood Arts District, where his extensive collection of 20th- and 21st-century photographs are on view, along with cutting-edge videos, installations and sculptures; guided group tours are available by advance appointment, and there are also occasional lectures and special events. At a glance: contemporary art · photography and video · cindy sherman · olafur eliasson · george segal

The Floyd and Josephine Segel Collection of Photography
In 1986, Floyd and Josephine Segel donated over 300 exceptional works by master photographers including Diane Arbus, Eugène Atget, Bill Brandt, Brassaï, Henri Cartier-Bresson, Lee Friedlander, Robert Mapplethorpe, Irving Penn, August Sander, and Garry Winogrand. The majority of the photographs fall within the humanist tradition at the heart of the medium, yet the collection also includes a photogram by Man Ray and experimental works by André Kertész.

The Haggerty Museum of Art has a permanent collection of over 4,500 paintings, sculptures, photographs and other visual art pieces.

Major milestones in the museum’s history include significant contributions from Frederick R. Weisman and Frank O. Gehry. Frederick R. Weisman, a Minneapolis native, entrepreneur, and noted philanthropist, provided generous financial gifts and other support to the museum. Internationally acclaimed architect Frank O. Gehry designed the museum’s glimmering residence along the Mississippi River. Home to the museum since 1993, this important architectural achievement has become a landmark for the University of Minnesota and the Twin Cities. WAM is the realization of a dream first articulated by University President Lotus Coffman in 1934. Setting aside some unused rooms in the newly completed Northrop Auditorium, Coffman noted, “There is a need for new values to sustain the morale of individuals in the days ahead. The arts are a source for such values and I want this university to play a leading part in instilling them.” The museum presents and interprets works of art, offering exhibitions that place art within relevant cultural, social and historical contexts. Several major exhibitions are offered each year, as well as organized letters, symposia, tours and special events focused upon educational themes. In its 70-year history, the museum has worked with more than fifty departments, presenting the ideas of a great university in multi-disciplinary and widely collaborative projects. The museum’s active touring program serves the cultural/educational needs of rural communities primarily in the Upper Midwest, as well as national and international audiences.

Our internationally acclaimed collection of modern and contemporary visual art, which grows each year through new acquisitions, includes more than 11,000 works. Spanning a diverse range of media that includes painting, sculpture, film, video, photography, and works on paper, the Walker's permanent collection is augmented by more than 800 holdings in the Ruben/Bentson Film and Video Study Collection; more than 1,200 artists' books; hundreds of working drawings, models, and other preparatory materials in the Visual Arts Study Collection; and thousands of documents and records in the Walker Art Center Archives. These diverse holdings reflect the Walker's unique multidisciplinary offerings in the visual, performing, and media arts of our time.

Begun in 1973, the MIA’s collection of photographs spans the history of photography from the 1860s to the present. Representing more than 800 photographers and 11,500 works of art, the collection has outstanding examples of twentieth-century American photography, with particular depth in the genres of documentary photography, photojournalism, and pictorialism. Since 2008, the museum has focused on expanding its holdings of contemporary photography and new media from all countries. This initiative increases the scope and relevance of the photography collection and enhances its links to the MIA’s diverse, global holdings. The Department of Photography & New Media continues to thrive thanks to the active, generous support of loyal donors. The earliest acquisitions were funded by Kate Butler and Hall James Peterson. Their initiative inspired others, including Harry Drake, Martin Weinstein, and Fred and Ellen Wells. More recently, the creation of the Alfred and Ingrid Lenz Harrison Fund and the establishment of the Harrison Photography Galleries (364 & 365) have given the department enormous momentum. These superb new galleries are devoted to presenting the permanent collection. In addition, Linda and Lawrence Perlman established the Perlman Gallery (262), which is dedicated to featuring contemporary photography and is located in the MIA’s Target Wing, hosting New Pictures, a semi-annual series highlighting emerging photographers from around the world. You, too, can contribute to and enjoy special access to exhibitions and events by joining the Photography & New Media Affinity Group. Over the years, the Department of Photography & New Media has been committed to using its collection for educational purposes, and the MIA now serves as a major resource for the five-state region. Numerous exhibitions drawn from the collection have traveled to other institutions, and students and teachers frequently visit the galleries and Photography Study Room to learn from the collection firsthand. Click on the photograph below to browse the collection and prepare for your next visit to the MIA.

The MMAC Photographic Collection includes photography as fine art, documentary photographs, historic Missoula photographs, and Hollywood film stills.The historic Missoula photos include many 19th century photographs related to the history of The University of Montana, the settlement of Missoula, agricultural use of the Bitterroot Valley, and panoramic views of the broader region from the Dr. Caroline McGill Collection. The collection includes "Their Eyes Tell Everything," an important archive of Montana Chippewa-Cree photographs from the Rocky Boy Reservation spanning the years 1906-1945. A second portfolio of early 20th century photographs documenting Crow Indians was taken by Fred Miller. 20th and 21st century work is represented by Berenice Abbot, Eugene Atget, William Eggleston, Philippe Halsman, George Hurrell, Jay Jaffee, and Louis Stettner, among others. Montana photographers include Richard Buswell, Dudley Dana, and Dennis Kern.

The distinguished photography holdings of the Monterey Museum of Art span the history of this medium. The 19th century collection includes the works of Carleton Watkins and William Henry Jackson; Anne Brigman and Johan Hagemeyer represent the early-twentieth century Pictorialist tradition. As befitting an institution situated on the scenic California Central Coast—the cradle of modern American photography—the collection emphasizes the works of the influential f/64 group and subsequent generations of photographers who followed their path. Most notably, featured photographs include Edward and Brett Weston, Ansel Adams and Imogen Cunningham as well as Wynn Bullock and Henry Gilpin. The broader, national photographic tradition is represented by the works of Charles Sheeler, Aaron Siskind, Irving Penn, Sally Mann and Gary Winograd, among others.The Museum has also begun expanding its photography holdings into the 21st century with the works of contemporary artists such as Angela Strassheim and Chris McCaw.

The Art Museum is dedicated to being one of the finest visual arts museums in the Carolinas. We strive to engage our community and our visitors through unique exhibitions and interactive, educational and creative programs for people of all ages.

The Frist Art Museum opened in April 2001, and since that time has hosted a spectacular array of art from the region and from around the world. Unlike any traditional museum you've ever visited, the Frist Art Museum has become a magnet for Nashville's rapidly expanding visual arts scene. With an exhibitions schedule that has new art flowing through the magnificent art deco building every 6 to 8 weeks, no matter how often you visit, there is always something new and exciting to see in the spacious galleries

The collections now number approximately 10,236 works of American art: 1,133 oils and acrylics, 2,710 drawings (including watercolors and pastels), 1,518 graphics, 268 sculptures, 216 photographs, and 1,782 illustrations. The last, a unique component of the holdings, is the Sanford B.D. Low Illustration Collection, named in memory of the first director. It represents an enormous range of media and subject matter and includes important works by such noted illustrators as Norman Rockwell.

The Zimmerli Art Museum was founded in 1966 as the Rutgers University Art Gallery to celebrate the university’s bicentennial. The gallery was expanded in 1983 and renamed the Jane Voorhees Zimmerli Art Museum in honor of the mother of Ralph and Alan Voorhees, the major benefactors for the museum’s expansion. Today, the museum’s permanent collection totals more than 60,000 works in a wide range of media and includes a survey of Western art from the fifteenth century to the present. The Zimmerli has particularly strong holdings in: • Nineteenth-century French art, particularly prints and rare books • Russian art and Soviet nonconformist art from the Dodge Collection • American art, especially prints

The Yale Center for British Art is a public art museum and research institute for the study of British art and culture. Presented to Yale University by Paul Mellon (Yale College, Class of 1929), the Center houses the largest collection of British art outside the United Kingdom.

The earliest photographs in the collection date to the early 1840s, and include daguerreotypes, ambrotypes, vintage albumen prints, salt paper print, hand colored or enhanced photographs, tintypes, glass plate negatives, 16mm films and contemporary digital inkjet prints. The Louisiana State Museum has major holdings of work by Samuel T. Blessing, George François Mugnier, Theodore Lillenthal, Robert W. Tebbs, Frances Benjamin Johnston, Joseph Woodson "Pops" Whitesell, Fonville Winans, and Achille Simon.

Since the 1970s, NOMA has built an extensive collection of photographs that represents a wide range of achievement in that medium from the 1840s to the present. Today the collection comprises over 8,500 works with images by some of the most significant photographic artists including Berenice Abbott, Ansel Adams, Diane Arbus, Ilse Bing, William Eggleston, and Edward Steichen, among many others. The collection includes examples that reflect photography’s international scope, from an 1843 view from his hotel window in Paris by William Henry Fox Talbot to a view of Mount Fuji by Kusakabi Kimbei, but it is particularly strong in work about New Orleans by regional and national photographers such as E. J. Bellocq, Walker Evans, Clarence John Laughlin, and Robert Polidori. NOMA is dedicated to presenting the photography collection in exhibitions, publications and educational programs and to continuing to build the collection to better reflect recent scholarship on the history of photography. Russell Lord, Freeman Family Curator of Photographs is responsible for the care, development, and interpretation of the collection.

The Museum's holdings include Southern artworks from Washington, D.C. and 15 Southern states spanning the 18th-21st centuries, and include paintings, prints, watercolors, photographs, ceramics, sculpture, crafts and design.

collection of 19th and 20th century photographs. Although the museum held only two photographs then, the collection now includes more than 1,300 photographs, daguerreotypes, ambrotypes, and tintypes. In 1995, a formal partnership established with the Center for Photography at Woodstock (CPW) resulted in the transfer of the permanent print collection developed by CPW to the Dorsky on extended loan. The CPW collection includes primarily contemporary work and is international in scope; it contributes significantly to the breadth of the museum's photographic holdings. This unique partnership, which includes collaborations with the university's programs in fine art photography and digital imaging is responsible for forging a strong and vital presence for the photographic arts in the region.

The collection spans the history of the photographic medium, from daguerreotypes to gelatin silver and digital chromogenic prints, but is strongest in its holdings of American and European documentary photography from about 1930 through the 1960s. Among the highlights are comprehensive archives of the works of Robert Capa, Cornell Capa, Gerda Taro, Chim (David Seymour), Roman Vishniac, and Weegee (Arthur Fellig), as well as works by members of the Photo League and photographers of the Farm Security Administration. Also included are substantial holdings of Henri Cartier-Bresson, Alfred Eisenstaedt, Robert Frank, Andre Kertesz, Lisette Model, Gordon Parks, Aaron Siskind, James VanDerZee, and Garry Winogrand. Another component of the collection is a significant group of photographically illustrated magazines such as Vu, Regards, Picture Post, Berliner Illustrirte Zeitung, Arbeiter Illustrierte Zeitung, and Life. The collection also includes a distinctive survey of vernacular photography, including photographic albums, commercial photography, and real photo postcards. Recent acquisitions include key works by Mitch Epstein, Hiroh Kikai, Seidou Keita, Justine Kurland, Liu Zheng, Gillian Laub, Louise Lawler, Susan Meiselas, Vik Muniz, Shirin Neshat, Alessandra Sanguinetti, Collier Schorr, Stephen Shore, Lorna Simpson, Hank Willis Thomas, and Mickalene Thomas.

The Museum of Modern Art (MoMA) began collecting modern photography in 1930 and established the department in 1940. The Museum's holdings of more than 25,000 works constitute one of the most important collections of modern and contemporary photography in the world. As diverse as photography itself, the collection includes work not only by artists, but also by journalists, scientists, entrepreneurs, and amateurs.

Established as an independent curatorial department in 1992, The Met's Department of Photographs houses a collection of more than 25,000 works spanning the history of photography from its invention in the 1830s to the present. Among the treasures from the early years of the medium are a rare album of photographs by William Henry Fox Talbot made just months after he presented his invention to the public; a large collection of portrait daguerreotypes by the Boston firm of Southworth and Hawes; landscape photographs of the American West by Timothy O'Sullivan and Carleton Watkins; and fine examples of French photography from the 1850s by Edouard Baldus, Charles N ègre, Gustave Le Gray, Henri Le Secq, Nadar, and others.

In 1992, the Robert Mapplethorpe Foundation named the Guggenheim Foundation the recipient of approximately 200 of Mapplethorpe’s finest photographs and unique objects. Realized in several stages between 1993 and 1998, the gift made the Guggenheim the most comprehensive public repository of this important American artist’s work, and also inaugurated the museum’s photography collection and exhibition program.
In 2001, the Bohen Foundation, a private charitable organization that commissions new works of art with an emphasis on film, video, and new media, gave the Guggenheim its holdings of some 275 works by 45 artists, immeasurably expanding the museum’s collection of contemporary art. Ranging from important photographic works by Hiroshi Sugimoto, Sam Taylor-Wood, and Sophie Calle to room-sized installations incorporating large-scale video installations by Iñigo Manglano-Ovalle, Pierre Huyghe, and Willie Doherty, the collection represents a vital and dynamic cross section of art at the turn of the millennium

The Whitney’s collection— comprising more than 19,000 paintings, sculptures, drawings, prints, photographs, films, videos, and new media by more than 2,900 artists—contains some of the most significant and exciting work created by artists in the United States during the twentieth and twenty-first centuries.

The Jewish Museum's collection explores the intersection of 4,000 years of art and Jewish culture through 26,000 objects of different media, including fine arts, Judaica, and broadcast media. Works of fine art began to be acquired in the late 1940s; a significant collection of coins and medals was assembled and donated between 1935 and 1948; two major collections of archaeological artifacts were acquired in 1973 and 1981. In 1981 the Museum established the National Jewish Archive of Broadcasting, now holding over 4,300 television and radio programs. The collection of Fine Arts comprises paintings, sculpture, prints, drawings, photographs, books, manuscripts and decorative arts ranging from the late 18th century to the present. Fine arts in the collection depict Jewish personalities, customs and environments, comment on the meaning of Jewish life and history, and explore the issues of Jewish identity from the perspectives of both Jewish and non-Jewish artists.

Launched in December 2010, the Collections Portal is the public side of a digitization project that enables Web visitors to discover ever-larger portions of the Museum's collections. We currently offer nearly 100,000 images of New York City, thousands of which have never been available for public viewing. And this is just a start - more material will be added to the portal as imaging and cataloging work is completed. Be sure to use the magnifying glass icon below each picture to explore the images with the zoom feature - we captured the objects at an exceedingly high resolution, enabling you to investigate even the smallest details of these historic images.

In addition to the object collections, the museum’s holdings also include the Photographic Archive (approximately 324,000 images from the 1860s to the present); the Media Archive (approximately 12,000 items) including film and audiovisual collections such as wax cylinders, phonograph discs, 16mm and 35mm motion picture film, magnetic media of many varieties, and optical and digital media recorded from the late 1800s through the present; and the Paper Archive (approximately 1500 linear feet) comprised of records dating from the 1860s to the present that preserve the documentary history of the NMAI, its predecessor, the Museum of the American Indian (MAI), Heye Foundation, and their collections, as well as other documentary and archival materials. Each of these four permanent collections components is defined by its individual scope and described in detail below. NMAI also maintains unaccessioned collections, including educational teaching collections and non-Native works of art depicting American Indian subjects, as well as poorly documented materials currently being researched for their value to the overall collection or potential disposition.

The Studio Museum in Harlem’s permanent collection represents more than 400 artists, spans 200 years of history and includes over 1,700 works of art, including paintings, drawings, sculptures, watercolors, photographs, videos and mixed-media installations. The collection is a record of the growth of the institution and its activities, including its foundational Artist-in-Residence program. The Museum is also the custodian of an extensive archive of the work of photographer James VanDerZee, the quintessential chronicler of the Harlem Community from 1906 to 1984.

The mission of The Morgan Library & Museum is to preserve, build, study, present, and interpret a collection of extraordinary quality, in order to stimulate enjoyment, excite the imagination, advance learning, and nurture creativity. A global institution focused on the European and American traditions, the Morgan houses one of the world's foremost collections of manuscripts, rare books, music, drawings, and ancient and other works of art. These holdings, which represent the legacy of Pierpont Morgan and numerous later benefactors, comprise a unique and dynamic record of civilization, as well as an incomparable repository of ideas and of the creative process.

The New Museum began as an idea in the mind of founding Director Marcia Tucker. As a curator at the Whitney Museum of American Art from 1967 through 1976, Tucker observed firsthand that new work by living artists was not easily assimilated into the conventional exhibition and collection structure of the traditional art museum.

The Castellani Art Museum Photograph collection includes over 1,400 prints. Initiated by the Castellani family gifts, the photography collection has grown significantly in the last decade through annual donations of work from Robert Freidus, Marc Freidus and other collectors. Photographs from the 1970's and 1980's are particularly well represented.

Walter P. Chrysler, Jr. collected most every kind of art object—except photography. The Chrysler Museum of Art’s photography collection is primarily the result of collecting activity since 1978. Since those humble beginnings, the Chrysler now possesses a substantial collection of more than 4,000 photographic objects from 19th-century daguerreotypes to contemporary digital and installation works.

The Hermitage maintains an extensive collection of institutional archives that includes more than 1,200 documents, photographs, letters, newspapers, journals, scrapbooks, and architectural blueprints recording the evolution of the house and surrounding area.
One of the most valuable components of the Sloane Collection is the archival record attached to each work of art. Mrs. Sloane often befriended the artists she patronized, and the Hermitage archives are overflowing with correspondence from some of the most important artists, dealers, and collectors of the early 20th century. Letters between Mrs. Sloane and Georgia O’Keefe, Isabella Stewart Gardner, John Singer Sargent, Helen Turner, Douglas Volk, and many others are a valuable resource for scholars around the world.
An extensive collection of early Hermitage photographs document the activities of American, British, and Australian troops during the First and Second World Wars. These images provide an opportunity for Norfolk’s military community (Norfolk is home to the largest Naval base in the world) to imagine what it must have been like to be stationed here during the first half of the 20th century in a particularly trying time for service members.

MASS MoCA is the largest center for contemporary arts in the United States. The institution is dedicated to the creation and presentation of provocative visual and performing arts pieces, and of works that blur conventional distinctions between artistic disciplines. In addition, MASS MoCA functions as a laboratory for the contemporary arts, fostering experimentation by artists, encouraging collaborations among institutions, and allowing visitors a behind-the-scenes look at the creative process.

The majority of this 10,000-plus piece collection is comprised of the Janos Scholz Collection of 19th-century European photographs, which includes some fine early prints by Henry Talbot Fox, David Octavius Hill, Robert Adamson, Gustave Le Gray, Julia Margaret Cameron, Robert MacPherson, and other pioneers of the art form. Other specialty areas include the Civil War and the exploration of the American West. The Museum continues to annually acquire prints thanks to the generosity of Milly and Fritz Kaeser, and other donors. Recent acquisitions include images by Eugène Atget, Eadweard Muybridge, Timothy O'Sullivan, Doris Ulmann, Frederick Sommer and Lauren Greenfield.

The Art Department continues to acquire major photographic collections. In 1998 the Museum received the archive of Berkeley photographer Helen Nestor. Containing more than 2,000 prints and 20,000 negatives, the collection highlights Northern California’s counterculture of the 1960s and '70s. Nestor’s photographs of the Free Speech Movement at U.C. Berkeley are among the most familiar images of that turbulent era. Joanne Leonard, Nestor’s close friend, has donated an archive of 2,000 negatives and 500 prints documenting her West Oakland neighborhood in the 1960s. She used her camera to capture the grit and grace of everyday life in one of California’s oldest African American neighborhoods. Leonard made the gift in honor of the late Oakland Museum of California curator of photography Therese Heyman.

The Allen Memorial Art Museum has an outstanding collection of nearly 14,000 works of art – including paintings, sculpture, decorative arts, prints, drawings and photographs – that provide a comprehensive overview of the history of art from a variety of cultures. The collection is particularly strong in European and American paintings and sculpture from the 15th century to today, and has important holdings of Asian paintings, scrolls, sculpture and decorative art, including a large group of ukiyo-e prints. High-quality African, Pre-Columbian, and ancient art is also represented. The museum also houses the Eva Hesse archives, which includes the artist’s notebooks, diaries, photographs and letters, and is proud to oversee, along with the Art Department, Frank Lloyd Wright’s Weltzheimer/Johnson House.

The mission of the Oceanside Museum of Art (OMA) is to educate and inspire the public through a diverse range of engaging exhibitions and programs that connect people with regional, as well as national and global artists and artforms of the 20th and 21st centuries. OMA operates as a private, non-profit 501 (c) (3) corporation and was originally founded by a core group of citizens who seized upon the vision of a museum and overcame all obstacles and skepticism to bring that vision to fruition after almost eight years of planning. OMA began providing exhibitions and public programs in 1995. With the support of the Oceanside City Council and City staff, the lease for the renowned Irving Gill Building, the historic site of the Oceanside City Hall, was approved and a home for the museum was established. Following a renovation to the interior of the Gill Building, OMA formally opened its doors on October 6, 1997, with a grand opening and OMA dedication. In 2008, OMA completed a contemporary, three-level 15,000 square foot expansion, designed by noted architect Fredrick Fisher. The new building was melded seamlessly with the original 5,000 square-foot Irving Gill modernist building.

The OMAA is the only museum in the State of Maine devoted exclusively to the exhibition and collection of American Art. The Permanent Collection includes almost 1600 works of art, including paintings, sculptures, photography and graphics. It houses one of the largest collections of ceramic sculpture by Carl Walters; watercolors by Eliot O’Hara; oils by Henry Strater; and drawings and sculpture by Isabella Howland.

The Museum’s collection of photography consists primarily of works by twentieth-century American photographers. Highlights include works by Elliott Erwitt, Imogen Cunningham, Alfred Stieglitz, Edward Steichen, and Garry Winogrand. The collection also contains over three hundred photographs by Brett Weston, donated by the Brett Weston Archive from the Christian K. Keesee Collection.

The collections at the International Photography Hall of Fame are largely comprised of three components: Photographic Equipment, Photographic Images and a library of monographs and periodicals on photography.
Photographic Equipment
The Photographic Equipment collection encompasses a variety of cameras, darkroom and studio equipment, primarily from the 20th century. Notable items include a wide range of Graflex, Kodak and Polaroid cameras.
There are some notable 19th century photographic toys and viewers in the IPHF equipment collections: Magic Lanterns, a Praxinoscope Theatre, and an Edison Projecting Kinetoscope.
Photographic Images
The Photographic Image collection is largely comprised of late 20th century images donated by the photographers who created them. Many of these donors are/were members of various professional photographic organizations such as the American Society of Photographers and Professional Photographers of America.

The museum’s permanent collection is comprised of works gifted by Marti and Tony Oppenheimer and the Oppenheimer Brothers Foundation. Art from Johnson County Community College’s Permanent Collection (acquired largely through JCCC’s annual acquisition fund) supplement the Oppenheimer Collection on view in the permanent collection galleries.

The Palm Springs Art Museum has always been interested in collecting and preserving fine art photography, supported by several important photographic archives. Until recently, the museum’s photography collection was concentrated largely in two areas: celebrity photographs from early eras in Palm Springs and Hollywood and desert photography, featuring the archival holdings of landscape photographer Stephen Willard. Additional holdings focused on contemporary artists, with an emphasis on California. In addition to the major traveling photography exhibitions that will be showcased at the museum on an ongoing basis, photography is integrated into the museum’s permanent collection and thematic exhibitions drawn from the museum’s permanent holdings will be regularly presented. The museum seeks to be a nationally recognized repository for the stewardship of photography holdings.

The photography collection boasts stellar works by Modernist photographers, including Edward Weston, Frederick Sommer, Minor White and Manuel Alvarez Bravo. It is also home to the work of major American photographers who began their careers in the 1960s and 1970s, including Judy Dater, Lewis Baltz and Anthony Hernandez. Contemporary works are particularly strong with examples of the experimental photography of Robert Heinecken, Robbert Flick, Edmund Teske and Todd Walker, all of whom embraced mixed media, multiple exposure and solarization.

The Museum is home to over 227,000 objects, spanning the creative achievements of the Western world since the first century AD and those of Asia since the third millennium BC. The European holdings date from the Medieval era to the present, and the collection of arms and armor is the second largest in the United States. The American collections are among the finest in the country, as are the expanding collections of modern and contemporary art. In addition, the Museum houses encyclopedic holdings of costume and textiles as well as prints, drawings, and photographs that are displayed in rotation for reasons of preservation.

Woodmere Art Museum, located in the Chestnut Hill section of Philadelphia, Pennsylvania, has a collection of paintings, prints, sculpture and photographs focusing on artists from the Delaware Valley and includes works by Thomas Pollock Anshutz, Severo Antonelli, Jasper Francis Cropsey (The Spirit of Peace), Daniel Garber, Edward Moran, Violet Oakley, Herbert Pullinger, Edward Willis Redfield, Nelson Shanks, Jessie Willcox Smith, Benjamin West (The Fatal Wounding of Sir Philip Sidney), and N. C. Wyeth (Anthony and Mr. Bonnyfeather).

Phoenix Art Museum enjoys a unique and vibrant collaboration with the Center for Creative Photography (CCP) at the University of Arizona presenting an exhibition program that features the CCP’s world-renowned collections of more than 80,000 works by 2,000 photographers. Regular rotating exhibitions in the Museum’s Norton Gallery feature such artists as Ansel Adams, Lola Alvarez Bravo, Richard Avedon, Louise Dahl-Wolfe, W. Eugene Smith, Edward Weston and more. Phoenix Art Museum does not maintain a collection devoted specifically to photography yet individual photographic works may be found in the Contemporary and Latin American collections.

Throughout Warhol’s career his own self-image is perhaps the most pervasive, both those of his own creation and those other photographers snapped; each portrait revealing the shifting moods and looks of different decades. The performative and photobooth-style self portraits of 1960s gave way to other explorations of self in the 70s and 80s In 1979 Andy Warhol was one of several artists invited by the Eastman Kodak Company in Rochester, New York to work with a new large-format Polaroid camera that was in development. In a somewhat atypical stance, the resulting images from his exploration bring an almost microscopic focus to Warhol’s person. Given his well-known sensitivity about his facial features, these self-portraits turn into something akin to topographical explorations of the lunar surface. Not surprisingly, most of the work in this series depicts a pained, angst-ridden Warhol, a far cry from his usual detached self. This is contrasted with the series of Polaroid photographs showing Warhol in female drag, which are intensely poignant and look to the twilight years of femininity and lost beauty. Perhaps, he was also aping the various Park Avenue matrons with whom he lunched and from whose husbands he garnered portrait commissions in the late seventies and eighties. Nine months before his untimely death due to complications after gall bladder surgery, Andy Warhol undertook a large series of self-portrait images. Each work centered on a levitating head surrounded by an aureole of spiky hair. This bifurcated image might be given a Freudian read separating out the public from the private man. The artist was very protective of his privacy. Even though he had lavished great time and expense on his last townhouse on New York’s Upper East Side, very few of even his closest friends were ever invited to visit. Only after his death were his generous contributions to charity and efforts on behalf of the needy made public. Indeed, camouflage could be said to be one of the leading metaphors of the artist’s career and his final self portraits the camouflage layering ultimately links the artist with his country. In a sense, Warhol acknowledges that artifice in culture, personality, or nationhood are one and the same. In each, a well-constructed exterior carries and protects that which is most cherished.

Carnegie Museum of Art is arguably the first museum of contemporary art in the United States, collecting the "Old Masters of tomorrow" since the inception of the Carnegie International in 1896. Our collection of more than 32,000 objects features a broad spectrum of visual art, including painting and sculpture; prints and drawings; photographs; architectural casts, renderings, and models; decorative arts and design; and film, video, and digital imagery. The museum also houses the archive of over 70,000 negatives by photographer Charles "Teenie" Harris.

The Museum's holdings of 20th-century prints are especially strong with fine examples of German Expressionist graphics from the David and Eva Bradford Collection; a wide variety of post-World War II American printmakers including Leonard Baskin, Jim Dine, Jasper Johns, Robert Motherwell, and Robert Rauschenberg; and Pop Art silkscreens by Andy Warhol, Robert Indiana, Ed Ruscha, and Roy Lichtenstein. The contemporary print collection continues to grow with recent additions of works by Helen Frankenthaler, Judy Pfaff, Alison Saar, and Pat Steir and selections from the Vinalhaven Press. The Portland curator and art collector Bruce Brown has been an invaluable source for much of the contemporary print collection. The photography collection surveys the history of the medium from early daguerreotypes and stereo views related to the history of Portland in the 19th century, to the rise of Pictorialism in Maine with images by Chansonetta Emmons, Alfred Brinkler, and F. Holland Day. In the 20th century, the documentary tradition in modern photography is well represented in the work of international photographers, such as Cartier-Bresson and George Rodger, the American street photographers Leon Levinstein and Garry Winogrand, and celebrity photographers Phillipe Halsman and Barbara Morgan. The work of contemporary Maine photographers, such as Melonie Bennett, Paul Caponigro, and Scott Peterman, rounds out the collection.

In October 2005, the Portland Art Museum unveiled the region's largest permanent exhibition space dedicated to photography within a museum. Located on the mezzanine floor of the Jubitz Center for Modern and Contemporary Art, this 2,200–square–foot gallery is home to a rotating display of photographs from the Museum's permanent collection. The collection ranges from 1850s daguerreotypes to contemporary inkjet prints and spans the history of the medium as fine art in the 19th and 20th centuries, specifically highlighting 20th–century photography in Oregon.
Established early in the Museum’s history, the photography holdings then consisted of only a few works. With the addition of a permanent curator of photography in the early 1980s, the collection began to rapidly expand. Today, there are approximately 5,000 works in the collection, which is part of the Vivian and Gordon Gilkey Center for Graphic Arts. The majority of images were acquired as gifts, so in a very real sense the collection is a product of the Museum’s community. These images reflect the varied photographic interests of hundreds of individuals whose efforts and gifts have helped shape the collection.
One of the earliest acquisitions was a complete 20–volume set of Edward Sheriff Curtis’s masterwork, The North American Indian. In 1942, the Works Progress Administration of the Federal Art Projects placed a large collection of Minor White’s photographs of Portland on permanent loan. Over the past 20 years, the Museum has also accepted gifts from various donors of more than 50 postwar photographs by White.
The Museum has placed particular emphasis on the acquisition of images that chronicle photography in Oregon and the West, adding to work by Group f/64 organizers Ansel Adams, Edward Weston, and Imogen Cunningham, and tracing a decade-by–decade profile of photographic accomplishments by both acknowledged masters and the under–recognized. Of particular note are in–depth holdings of work by Myra Wiggins, Lily White, and Sarah Ladd, associate members of Alfred Stieglitz’s Photo–Secession Movement, who lived and worked in Salem and Portland at the turn of the 20th century, as well as a rich selection of images reflecting the life work of Al Monner and Todd Walker.
The collection also includes works by noted contemporary photographers, including Cindy Sherman, Lorna Simpson, and Carrie Mae Weems, Robert Adams, Elliot Erwitt, Dianne Kornberg, and Joel Sternfeld.

The Carl Ackerman Collection, more than 10,000 historic local photographs archived at the museum, is an endless resource for thematic exhibitions in the Burton Room. Cataloguing of the collection is ongoing, but more than 6300 images have already been digitized for direct public access. For researchers of local history, museum staff may be able to locate additional images from the collection.

The photography collection at Princeton is one of the leading museum collections in the country. The first photograph in the collection, a work by Alfred Stieglitz, was registered in 1949. In 1971, David Hunter McAlpin, Class of 1920, and Mrs. McAlpin donated their personal collection of nearly 500 photographs, including works by Ansel Adams, Wynn Bullock, Imogen Cunningham, Charles Sheeler, and Edward Weston. Since then the department's holdings have grown to over 20,000 photographs by more than 900 artists, forming a comprehensive history of the medium from the 1840s to the present. Archives housed in the department include those of Minor White, Clarence H. White and the Clarence H. White School of Photography, Ruth Bernhard, and William B. Dyer. Photography at Princeton, an extensive catalogue of the collection, was published in 1998. The collection is available to students and scholars through exhibition or viewing in the study room by appointment.

The department of Prints, Drawings and Photographs oversees approximately 18,000 European and American works on paper from the 15th century to the present. A summary of the history of photography is provided by 5,000 photographs, among them significant works by Gustave Le Gray, Julia Margaret Cameron, Nadar, Frederick Sommer, Carrie May Weems, and former RISD professors Aaron Siskind and Harry Callahan. The department also oversees the Aaron Siskind Center for the Study of Photography, which is open to photography students and Museum visitors alike.

The objects and purposes of this association shall be to promote and cultivate the practice and appreciation of all branches of the fine arts, to assemble and maintain in the town of Provincetown and environs a collection of works of art of merit, to hold exhibitions, and by forums, concerts and similar activities to promote education of the public in the arts and social intercourse between artists and laymen. To these ends it shall operate strictly within its charter as a nonprofit, educational, artistic and cultural organization.

At the North Carolina Museum of Art, we believe in the transformative power of art. Through the People’s Collection, the state art collection that belongs to the citizens of North Carolina, and our 164-acre Park, we strive to create a sense of welcome and belonging.

Our collection galleries span more than 5,000 years, from antiquity to the present, and provides countless cultural experiences for the people of our state and beyond. The Museum Park showcases the connection between art and nature through site-specific works of art and notable programming. Both are free to visit.

We also offer changing special exhibitions, classes, lectures, family activities, films, dance performances, and concerts.

Since 1994, the Center for Curatorial Studies has presented rotating temporary exhibitions of contemporary art in the 9,500 square-foot CCS Galleries. Designed by architect Jim Goettsch and Nada Andric, the Galleries include advanced storage facilities and a special gallery designed for the presentation of video art and works on film. Exhibitions in the CCS Galleries are organized by Center staff and visiting curators and scholars, who are invited to discuss their projects with students and the public in gallery walk-throughs and the Center’s lecture series. CCS exhibitions reflect the Center’s principal aim to encourage and explore experimental approaches to the presentation of contemporary visual arts, and are also utilized by students in the Center’s graduate program for their collaborative first-year projects and second-year thesis exhibitions.

On November 12, 2006, the Center for Curatorial Studies inaugurates the Hessel Museum of Art, a new 17,000 square-foot building dedicated to the Marieluise Hessel Collection of over 1,700 contemporary works. The new museum will provide an educational venue for Bard students as well as the wider public, and a place to test out the possibilities of exhibition making utilizing the remarkable resources of the collection as a whole. Exhibitions in the Hessel Museum of Art will compliment the extensive exhibitions curated for the CCS Galleries.

The Nevada Museum of Art permanent collection is divided into four thematic focus areas: Contemporary Art, Altered Landscape Photography, Art of the Greater West, and the Work Ethic Collection. The Center for Art + Environment Archive Collections and Library serve scholars and researchers seeking information related to creative interactions between people and their natural, built, and virtual environments. These thematic, rather than historical or stylistic, specializations are a natural outgrowth of the institution’s collecting practices over the years. The art collections consist of over 2,000 objects from the nineteenth and twentieth centuries. The Center for Art + Environment houses nearly 50 archives comprised of 12,000 items in its Archive Collections and over 5,000 books in its Library.

The Virginia Museum of Fine Arts houses a remarkable permanent collection of more than twenty-three thousand works of art from almost every major world culture. Especially noteworthy are the museum’s collections of Art Nouveau, Art Deco, and Modern and Contemporary American art donated by Sydney and Frances Lewis; French Impressionist and Post-Impressionist art and British sporting art given by Mr. and Mrs. Paul Mellon; American art acquired through the J. Harwood and Louise B. Cochrane Fund; The Lillian Thomas Pratt Collection of Fabergé jeweled objects; and The Jerome and Rita Gans Collection of English Silver. The museum’s holdings of South Asian, Himalayan, and African art are among the finest in the nation.

Founded by Larry Aldrich in 1964, The Aldrich is dedicated to fostering innovative artists whose ideas and interpretations of the world around us serve as a platform to encourage creative thinking. The Aldrich, which served an audience of over 37,700 in 2011, is one of the few independent, non-collecting contemporary art museums in the United States, and the only museum in Connecticut devoted to contemporary art. It is one of only twenty museums in Connecticut and only 318 art museums in the country to be accredited by the American Alliance of Museums. In 2011, The Aldrich implemented a new programming strategy of semester-long solo and group exhibitions united under overarching themes that link their content; the acclaimed gallery-based education programs use the work on view to help adults, families, and over 7,000 students annually to connect to our world through contemporary art.

In its diversity, UCR/CMP's collection is the largest, most comprehensive photographic center in the West. This resource is utilized as five inter-linked sub collections: the Bingham Technology Collection, the Keystone-Mast Collection, the University Print Collection, the UCR/CMP Study Center Library Collection, and the Digital Virtual Collection. The museum's collection provides a foundation for exhibitions and programs examining broad associations between photographic works, the instruments of photography, and society's evolving relationship with the photograph.

The Taubman Museum of Art, located in Roanoke, Virginia, is a dynamic cultural institution dedicated to showcasing a diverse range of artistic expression. Established in 2008, the museum is housed in a striking contemporary building designed by architect Randall Stout, whose dramatic use of glass, steel, and geometric forms creates an architectural landmark in the city’s downtown area.

The museum's collection features an impressive array of American art, with works spanning from the 19th century to contemporary pieces. Highlights include regional Appalachian artists, modernist painters, and notable works by prominent American artists. The collection reflects both national artistic movements and the unique cultural heritage of Southwest Virginia.

In addition to its permanent collection, the Taubman Museum of Art hosts rotating exhibitions that bring nationally and internationally recognized artists to the region. These exhibitions cover a variety of media, including painting, sculpture, photography, and new media, ensuring a dynamic and engaging experience for visitors.

Education and community engagement are central to the museum’s mission. The Taubman Museum offers a variety of programs designed for all ages, including art classes, hands-on workshops, artist talks, and educational initiatives for schools. Special events, such as family days and interactive activities, provide opportunities for deeper engagement with art.

As a cultural hub in Roanoke, the museum plays a vital role in fostering appreciation for the arts within the community. Its striking design, rich collection, and commitment to accessibility and education make it a key destination for art lovers and visitors. Through innovative exhibitions and programs, the Taubman Museum of Art continues to inspire creativity and bring the transformative power of art to a broad audience.

The Collection of the O. Winston Link Museum is certainly focused on the Norfolk and Western project. Link captured the last days of steam operation on the N&W Railway in the late 1950s, but within the walls of these Galleries, our visitors experience much more than just photographs. This collection is more than trains and rail operations. The images created by Link are vignettes into history and sociology. They are art; they are a part of the history of photography and they are a tool to share an era with every person.
In the Radford Gallery, the names of towns along the top of each wall detail stops along the Abingdon Branch of the N&W Railway. The photographs in this gallery showcase the spectacular views and people along the line. Look through the view camera in the center of the room to see the world as Link did. Visitors to the Museum will be surprised to see the daytime and color images in this Gallery. Because the Abingdon Branch ran only during daylight hours, and because Link was drawn to the vibrant fall colors, many of his color photographs were made here.

The photography collection includes more than 400,000 photographs and negatives dating from the invention of photography to the present day. The collection embraces numerous landmark processes, objects of great rarity, and monuments of art history that trace the evolution of the medium as a technology, as a means of scientific and historical documentation, and as one of the most potent and accessible means of personal expression of the modern era. More than 14,000 photographers are represented in the collection, including virtually all the major figures in the history of the medium. The collection includes original vintage works produced by nearly every process and printing medium employed. • A major collection of Ansel Adams’ early and vintage prints • A major collection of nineteenth-century photographs of the American West • A major collection of early French photography • One of the largest collections of daguerreotypes in the world • For all levels of researchers, one of the most accessible of important photographic collections

During the early 1970s, the Rockford Art Association sought to expand its collection into fine art photography. The Radius exhibitions produced several purchase awards, but more importantly it brought the association into contact with Arnold Gilbert, collector and champion of photography as a fine art. The Gilbert Collection donated in 1974, 1976 and in 1991 forms the backbone of the more than 290 photographs in the collection. Today, Rockford Art Museum collects from the beginning of the process of photography to contemporary and experimental photographers. It holds a substantial collection of prints by Brett Weston and Mexican photographer Manuel Carrillo.

The Farnsworth’s interest in photography as an artistic medium can be traced to its very opening in August 1948 when it showed the work of already renowned American photographer Edward Weston. In the sixty years since, it has built a collection of more than 1500 photographs, mostly from the twentieth century, and many by photographers who have worked or are working in Maine. As was the case for the painters from the mid-nineteenth century onward, Maine’s scenic coasts, rivers, streams, and forests provided attractive subjects for their work, as did the everyday activities of farmers, loggers, and fishermen. The museum’s photography collection includes over sixty works by Berenice Abbot, who recorded life in rural and seacoast Maine as well as views of 1930s New York City. Over 140 photographs by Kosti Ruohomaa, most of which appeared in LIFE magazine, portray Maine and all of America during the mid-twentieth century. Other holdings include works by documentary photographer and filmmaker Rudy Burkhardt, LIFE photographer and former Vinalhaven resident Elliot Elisofon, and Maine photographers Paul Caponigro, Elliot Porter, Joyce Tenneson, and George Tice. Recent additions to the collection have included photographs by Bob Brooks, Jeffrey Becton, John Paul Caponigro, William Wegman, Scott Peterman, and Chris Pinchbeck.

Ranked among the nation's largest, most important suburban art museums, Nassau County Museum of Art is located about 25 miles east of New York City in Roslyn Harbor, Long Island on the former Frick Estate, a spectacular property in the heart of Long Island's fabled Gold Coast. The main museum building, named in honor of art collectors and philanthropists Arnold and Joan Saltzman, is a three-story Georgian mansion that exemplifies Gold Coast architecture of the late 19th century.

The collection surveys the history of the medium, from the daguerreotype to recent digital innovations, and embraces a wide range of subjects and artists. Represented alongside international figures such as David Octavius Hill, Robert Adamson, Francis Frith, and André Kertész are seminal figures in American photography, including Harry Callahan, Imogen Cunningham, and Minor White. A major gift of Marion Post Wolcott's prints enhances the Museum's holdings of the Farm Security Administration photographers, including Dorothea Lange, Walker Evans, and Wright Morris. Newer acquisitions include works by Chris McCaw, Tracey Snelling, Daniel Kasser, and Lewis deSoto. The Western landscape and environment captured by 19th- and 20th-century photographers is represented by the work of Carleton E. Watkins, Ansel Adams, Edward Weston, Richard Misrach, Robert Adams, and Lewis Baltz, among others.

The Utah Museum of Fine Arts engages visitors in discovering meaningful connections with the artistic expressions of the world's cultures. Our collection of over 19,000 objects includes paintings, works on paper, photography, sculpture, and mixed media objects from artists around the world.

The Museum’s permanent collection offers a rich photographic heritage, both as an expressive medium and a documentary record. The collection’s 7,000 images include works by Margaret Bourke-White, Alfred Stieglitz, and Ruth Bernhard among 850 other photographers, and a wealth of representative examples of different photographic styles, genres and techniques, from early 19th century daguerreotypes and albumen prints to pictorialism, cutting-edge documentary and photojournalism, and digitally constructed imagery. While the entire collection illustrates the complex and varied history of the medium, in terms of subject matter and genres, MOPA's collection is particularly strong in mid-twentieth century Soviet Russian photography, and social documentary photography and photojournalism.

After a long hiatus, The San Diego Museum of Art has begun actively collecting photography. The Museum continues to build a collection that is particularly strong in the work of photographers and photojournalists of the mid-twentieth century including Margaret Bourke-White, Henri Cartier-Bresson, Alfred Eisenstaedt, Gjon Mili. Other large groups include a series of the environmental portraits of artists and politicians by Arnold Newman, as well as a group of works by San Diego-based photographers ranging from Roland Schneider and Florence Kemmler in the 1920s and 1930s to the contemporary artist Eleanor Antin. An additional group of photographs represents the work of Hugo Brehme and others active in documenting Mexican life and landscapes in the nineteenth and early twentieth century.

One of the first museums to recognize photography as a legitimate art form, SFMOMA has been collecting and exhibiting photographs since 1935. Tracing the development of the medium from its invention in the 1830s to the present day, our photography collection comprises more than 14,000 pictures and is particularly well regarded for its concentrations of photographs related to California and the West, the European Avant-Garde, and American Modernism. Other areas of strength include Japanese photography, landscape photography, and a growing 19th-century collection. Dedicated to the examination of visual culture in all its forms, the department is notable for its active interest in collecting and exhibiting vernacular photography — anonymous snapshots, documentary evidence, and other photographic images never intended to be viewed as art. In addition to our full program of special exhibitions, we organize Picturing Modernity: Selections from the SFMOMA Collection, an ongoing presentation that reveals the medium's transformation from a scientific invention into one of the most prevalent art forms of the modern era.

The photography collection of the Fine Arts Museums of San Francisco spans the entire history of the medium, with particular strength in nineteenth-century American and European photography. The de Young Museum accepted photographs into its collection during its earliest years, starting with documentary scenes of the California Midwinter International Exposition of 1894. The collection also includes large concentrations of historical California photographs, with many views of the Bay Area as well as a significant holding of daguerreotype portraits.

The Legion of Honor also amassed historical photographs prior to merging with the de Young Museum. The Legion’s most important acquisition was its purchase in 1943 of negatives and prints by Arnold Genthe representing San Francisco in the immediate aftermath of the earthquake of 1906. After the two institutions were combined to form the Fine Arts Museums of San Francisco in 1972, the photography holdings were united at the Legion of Honor within the Museums’ department of works on paper, the Achenbach Foundation for Graphic Arts. Among the photographers represented in depth are Eadweard Muybridge, Imogen Cunningham, Arthur Siegel, John Gutmann, David Seymour (Chim), Bill Owens and Ed Ruscha.

The CHS Collection comprises a diverse body of materials documenting the history of California, including 500,000 photographs; with Nearly 23,000 photographs from the Title Insurance and Trust Company (TICOR) and the Los Angeles Area Chamber of Commerce (LAACC), along with the records of LAACC, managed for CHS by the Regional History Center at the University of Southern California, documenting the development and promotion of the Los Angeles region.

Since its founding in 1984, the Contemporary Jewish Museum (CJM) has distinguished itself as a welcoming place where visitors can connect with one another through dialogue and shared experiences with the arts. Ever changing, the CJM is a non-collecting institution that partners with national and international cultural institutions to present exhibitions that are both timely and relevant and represent the highest level of artistic achievement and scholarship.

The San Jose Museum of Art has a permanent collection of approximately 2,000 20th– and 21st–century artworks including paintings, sculpture, installation, new media, photography, drawings, prints, and artist books. The collection continues to evolve as a set of works reflecting important movements in recent art history, the accomplishments of emerging West Coast artists, acquisitions from our special exhibitions, and other significant works.
Visitors can view works from the collection in the Museum’s galleries, and often our curators create special exhibitions from the collection that explore particular themes or present interesting juxtapositions of works and artists. You can use this website to see some of the collection’s highlights and recent acquisitions.

The Permanent Collection of the San Luis Obispo Museum of Art was officially established in 1998, following an exhibit of its holdings organized by Arne Nybak and a group of dedicated members. The Board of Directors, upon seeing the artwork and the enthusiastic response by its viewers, realized the collection’s legacy and unanimously endorsed its preservation and expansion. No one worked harder or put his personal fortune into this collection more than Arne Nybak, the San Luis Obispo Art Center’s volunteer curator for 32 years, until his death in 1999. Mr. Nybak bought work by artists he considered important, some were bequeathed at an artist’s death, and often he asked artists to donate significant examples of their work. Those approaches to collection development continue today. The collecting mission of the San Luis Obispo Museum of Art ensures the protection, conservation, preservation, and interpretation of works of art significant to the Central Coast and all of California as a sacred trust. Moreover, the Permanent Collection aims to define the role of artists important to the County and region with equal emphasis given to contemporary and historical art.

Significant among the Wittliff’s holdings is our nation’s largest collection of modern, and contemporary works by leading photojournalists and fine-art photographers from Mexico. Prints by modern masters such as Lola Álvarez Bravo, Manuel Álvarez Bravo, Lázaro Blanco, Héctor García, Kati Horna, Nacho López, Rodrigo Moya, and Mariana Yampolsky form a bedrock of influence from which the imagery of the next generation can be seen to rise.
This contemporary guard includes such celebrated image-makers as Graciela Iturbide, Pablo Ortiz Monasterio, and Antonio Turok, who are internationally renowned for the strength, range, rarity, and importance of their vision. Also contributing to the impact of the medium in Mexico and beyond are photographers whose distinguished careers continue to gain momentum, such as Yolanda Andrade, Marco Antonio Cruz, Maya Goded, Eniac Martínez Ulloa, Raúl Ortega, and Francisco Mata Rosas. Additionally, the Mexican collection includes an important documentary archive of historical photographs.
Lending further weight to the Wittliff’s repository of original prints are iconic images of the Southwest and Mexico by some of the world’s greatest names in photography: Geronimo (1905) by Edward Curtis, Moonrise, Hernandez, New Mexico (1941) by Ansel Adams, Georgia O’Keefe (1956) by Yousuf Karsh, and Willie Nelson, Luck Ranch, Spicewood, Texas (2001) by Annie Leibovitz, to name but a few.
Add to this list works by François Aubert, Hugo Brehme, Henri Cartier-Bresson, Elliott Erwitt, Laura Gilpin, Danny Lyon, Richard Misrach, Tina Modotti, Erwin E. Smith, Sebastião Salgado, Paul Strand, Edward Weston, Garry Winogrand, and Joel-Peter Witkin, among others. Since its founding, the Wittliff has established the major collections of many notable contemporary artists, illuminating the arc of their creative development. These include Kate Breakey, Keith Carter, Jayne Hinds Bidaut, Ken Rosenthal, Josephine Sacabo, Rocky Schenck, and Geoff Winningham, as well as Bill Wittliff, who is highly regarded for both his camera work and print making.
While traditional silver-gelatin darkroom prints make up the core of the Southwestern & Mexican Photography Collection, images created using other processes are also included. Daguerreotypes, cyanotypes, tintypes, photogravures, and, more recently, archival digital prints represent the possibilities of the medium and preserve the exquisite and historic techniques of picture making for tomorrow’s students and lovers of photography.

The photography collection at the Santa Barbara Museum of Art originated in the exhibition Attitudes: Photography in the 1970s, organized by Fred Parker, the first part-time curator of photographs at the Museum. This groundbreaking exhibition featured works by many up-and-coming photographers who are now nationally recognized. A significant number of these photographs were acquired by the Museum and formed the basis of the collection. Major gifts in 1983 and 1985 from Arthur and Yolanda Steinman provided an important historical core of vintage and modernist works around which the collection continues to grow. Areas of particular strength and focus include: works by California photographers from 1860 on, contemporary photographers from Western Pacific Rim countries (Korea, China, Japan, Vietnam), artists exploring issues of science and science-based art, and selected examples by acknowledged master photographers. Other areas of emphasis include photographers with ties to Santa Barbara and works with synergistic relationships to other Museum collection areas, for example vintage prints of nineteenth-century France and images of modern Latin America.

The de Saisset Museum's photography collection is particularly rich in work by 20th-century West Coast photographers. A notable component of the de Saisset's photographic holdings is the Helen Johnston Collection. Johnston was the founder of San Francisco's Focus Gallery, which exhibited work by pioneering contemporary photographers from 1966-1985. The de Saisset's collection includes work by photographers such as Ansel Adams, Ruth Bernhard, Wynn Bullock, Lisette Model, Edward Steichen, Weegee, Brett Weston, and Edward Weston. In addition to original photographic prints, the Museum holds sets of study prints from the Library of Congress of works by Dorothea Lange, Russell Lee, and Jacob Riis.

The John and Mable Ringling Museum of Art has a diverse collection comprised of nearly 14,000 objects of European, American and Asian art and continues to grow. In 2002, the Koger Collection of Chinese ceramics, which spans over four millennia of Chinese ceramics, was donated to the Museum. In 2006, Dr. Helga Wall-Apelt made a combined pledge of her collection of Chinese jades, stone sculptures, bronzes, and other works. The Ringling Museum also collects modern and contemporary art, and presents temporary exhibitions from its own collections.

Telfair Museums permanent collection of paintings, works on paper, photography, sculpture, and decorative arts contains over 4,500 objects from America, Europe, and Asia, dating primarily from the 18th-20th centuries.

The SCAD Museum of Art is a premier contemporary art museum established to enrich the education of SCAD students and to attract and delight visitors from around the world. Introducing new exhibitions every academic quarter, the museum showcases work by a range of highly acclaimed professional artists, inspiring and challenging students across disciplines to push the boundaries of their creative practice.

The Seattle Art Museum (commonly known as "SAM") is an art museum located in Seattle, Washington, USA. It maintains three major facilities: its main museum in downtown Seattle; the Seattle Asian Art Museum (SAAM) in Volunteer Park on Capitol Hill, and the Olympic Sculpture Park on the central Seattle waterfront, which opened on January 20, 2007

The core of the Museum is the permanent collection comprised of abstract paintings, drawings, prints, works in clay and sculpture created since the mid-20th century. The permanent collection also includes those significant precursors that are a vital link to refining the scope of the collection and to enhancing the Museum's educational importance. The Museum permanent collection was built through gifts and selected purchases. The study collection is compromised of those examples valued as instructional resources. The director/curator is responsible for routine maintenance of the collection. Conservation or restoration of collection works is contracted to and performed by conservation specialists.

The photography collection consists of 3000 works, spanning the history of the medium from 1844 until the present. There are strengths in 20th-century American and German, and large individual holdings of prints by Edward Curtis, Paul Strand, Andreas Feininger, and Moneta Sleet Jr.

The Mildred Lane Kemper Art Museum presents selected works from its collection of photography, sculpture, installation, and painting throughout the main Saligman Family Atrium space, May Department Stores Foyer, and Florence Steinberg Weil Sculpture Plaza. In addition, the Bernoudy Permanent Collection Gallery is a dedicated space that remains on view on the Museum's second floor, and also houses the Teaching Gallery.

From a legendary permanent collection, to fascinating traveling exhibitions, to exciting events in the heart of downtown’s scenic waterfront, the MFA is ready to inspire you with diverse and ever-changing opportunities to experience art. Discover 4,500 years of civilization in thousands of objects extending from antiquity to present – the only comprehensive art collection of its kind on Florida’s west coast. Highlights include masterpieces from Monet, Cézanne, Renoir and others, a sculpture garden, a Steuben glass gallery and one of Florida’s most respected photography collections.

The Cantor Arts Center collects, interprets, and exhibits works on paper made from the late 15th century to the present. The collection consists of approximately 6,000 prints, 2,000 drawings and watercolors, 4,700 photographs, and more than 200 illustrated books. The Center aspires to demonstrate the development of the graphic arts as fully as possible; it allocates particular attention to significant individual artists, movements, and themes, and to the development of media and techniques. The photography collection offers examples of cliché-verre by Jean-Baptiste-Camille Corot, early photographs by Julia Margaret Cameron, and cyanotypes by Anna Atkins and Henry Peter Bosse. The nearly 450 works by Eadweard Muybridge, who worked for Leland Stanford, are of great art historical and institutional significance. More than 160 photographs by Robert Frank enhance the 20th century holdings.

In the house you will find a permanent exhibition of Alice Austen's work, temporary exhibitions, and period rooms. Alice Austen (1866 - 1952) was one of America's earliest and most prolific female photographers, and over the course of her life she captured about 8,000 images. Though she is best known for her documentary work, Austen was an artist with a strong aesthetic sensibility. Furthermore, she was a landscape designer, a master tennis player, and the first woman on Staten Island to own a car. She never married, and instead spent fifty years with Gertrude Tate. A rebel who broke away from the ties of her Victorian environment, Alice Austen created her own independent life.

A collection of 450 photographs provides an overview of developments in that medium over many years. A strong holding of images from the post-World War II era offers particular insight into photography during that time.

The University Art Collection is the primary repository for art on the Syracuse University campus. The department’s mission is to provide meaningful encounters with its objects through the acquisition, preservation and interpretation of the collection to the university community of students, faculty and staff, alumni, and to the region’s general public. The collection is comprised of a diverse, encyclopedic group of fine art and ethnographic objects by international makers and represents styles and time periods from pre-history to the present.

The FSU MoFA’s permanent collection has a wide variety of photographs. The collection covers photography as far back as the daguerreotype, the first photographic process. The Palm Press Collection alone presents a quick history of photography: a daguerreotype, a tintype, an ambrotype, three albumen prints, a stereograph, a platinum print, and more. One of the most notable photographs in the collection is a Man Ray photolithograph titled Rayogram. Other artists represented in FSU MoFA’s photograph collection are Judy Chicago, Jerry Uelsman, George Blakely, Larry Clark, Ewing Galloway and Andy Warhol. The Shapiro Collection consists of 109 photographs by Arthur Taussig and includes c-prints, Polaroid, and color photographs, most dating to the late 1970s and early 1980s.

Since its beginning in 2001, the Florida Museum of Photographic Arts has steadily built its permanent collection. Beginning with a group of vintage photographs by Richard Tepe (arranged by Vincent Sorrentino, co-founder) as well as excellent examples of photojournalism by Tampa Bay Times photographers Jamie Francis and James Borchuck, the museum soon gained a ten-work suite of landmark images by the pioneer of strobe light photography and M.I.T. professor, Dr. Harold “Doc” Edgerton. Thanks to co-founder Charles Levin and Gus Kayafus of Palm Press, Edgerton’s famous Milk Drop Coronet and Shooting the Apple are in the collection. FMoPA has a growing concentration of examples of early panoramic photography, including five views of early Tampa by the Burgert Brothers (gifts of Terry Butchko Hoft). An array of early panoramic views of the building of the Panama Canal, West Point, Miami and other vistas, are among numerous gifts from Robert B. MacKay of Cold Spring Harbor, New York, author of America by the Yard: Cirkut Camera: Images from the Early Twentieth Century. The museum is grateful to longtime supporters Celia and Jim Ferman for their gift of three classic scenes of Woodstock by Burk Uzzle. Museum trustee William K. Zewadski was instrumental in the acquisition of important works by celebrity photographer Len Prince, by Chinese photographer Shen Wei and by Dianora Niccolini, who is a pioneer in the photographing of the male nude. David R. Hall, III, a member of FMOPA’s Board of Directors and friend of many artists, facilitated the donation of works by such noted names as Judy Dater (known for her 1974 photograph of Imogen Cunningham and Twinka), Andrea Modica (who has exhibited her work in museums internationally), Robert Hartman (who takes infrared aerial photographs of the California countryside) and Ruth Bernhard, who was once saluted by Ansel Adams as being “the greatest photographer of the nude.” Elizabeth Bolint donated a key work by noted Depression-Era artist Dorothea Lange, Kern County, and the museum also holds a portrait of Lange by Rondal Partridge (son of Imogen Cunningham). The very top ranks of Florida photography (and/or Florida-born photographers) are represented by four large, excellent works from Clyde Butcher (two of which were dontated by Charles Levin and Cynthia Flowers, co-founders) and a haunting landscape donated by the artist Benjamin Dimmitt. Herb Snitzer, who is famous for his portraits of jazz musicians and who lives in St. Petersburg, as arranged by Cynthia Flowers, donated the portrait of Bette Davis to the museum’s permanent collection. Also in the collection are three engaging views of Pittsburgh’s African-American community in the 1930s and 1940s by Charles “Teenie” Harris (also known as “One Shot” Harris). One image was a gift of the Harris family arranged by Cynthia Flowers and the other two were donated by Charles Levin and Cynthia Flowers. The museum holds two dreamlike photo montages by San Francisco-based Hugh Shurley. In addition, courtesy of New York’s Marlborough Gallery and the artist, the museum has two dramatic portraits of members of the Surma and Mursi tribes of Ethiopia by German-born Hans Silvester. The most recent acquisitions include a gift of more than 40 works from Bud Lee and his family. Lee, at one time a key member of Tampa’s arts community and currently a resident of Plant City, Florida, has had a colorful and noted career photographing for Esquire and Rolling Stone, among other publications.

The museum has over 2,149 photographs representing a wide variety of photographic techniques and formats: daguerreotype, albumen, salt, photogravure, stereographic, collotype, gelatin silver, carbon and chromogenic. Particular areas of strength include nineteenth-century photographs, especially expeditionary images related to Greece and Rome, and photography created after 1970. The collection initially was established with an emphasis on photographs created by artists who stage, manipulate and otherwise transform their subject matter. Since then it has expanded to include examples by other important contemporary photographers. Examples include: Berenice Abbott, John Baldessari, Zeke Berman, Nancy Burson, Chuck Close, Eileen Cowin, Robert Doisneau, Robert Frank, Sally Gall, Phillippe Halsman, Bud Lee, Robert Mapplethorpe, Duane Michals, Abelardo Morell, Eliot Porter, Robert Rauschenberg, Sebastiao Salgado, Lucas Samaras, Andres Serrano, Cindy Sherman, Aaron Siskind, Sandy Skoglund, Jerry Uelsmann, Burk Uzzle, William Wegman, and Garry Winogrand. Part of the photography collection consists of works whose subject matter is exclusively related to archaeological excavations and classical imagery. These photographs were gifts from a single donor, William Knight Zewadski. This area of the collection serves as an impressive resource for the museum’s collection of antiquities and provides examples of many of the early techniques and practitioners of the late 19th and early 20th centuries. Examples include such artists as Felix Bohfils, Constantin Dimitris, Roger Fenton, Francis Frith, and Robert MacPerson. An endowment for photography provided by the Frank E. Duckwall endowment within the Community Foundation of Tampa Bay provides some of the means to build the collection.

The University of South Florida Contemporary Art Museum maintains the permanent collection for the University of South Florida. In this Collection portfolio, you can browse the entire online collection including over 3,000 objects of contemporary graphics, works on paper, sculpture multiples and photography. The portfolios below contain significant subsets of the collection. Click on any portfolio to browse its contents. The “Search” button on the sidebar allows you to explore the collection using a variety of search parameters. USFCAM received a significant gift from The Andy Warhol Foundation for the Visual Arts as part of the Andy Warhol Photographic Legacy Program. The gift, consisting of 106 original Polaroid photographs and 50 gelatin silver prints produced by Warhol between 1970 and 1987, is represented in this portfolio.

The George E. Foster Jr. Gallery for Prints Drawings and Photographs mounts several special exhibitions of work on loan from artists as well as private collections and other museums. In Addition, the Harwood features an archival collection containing over 17,000 photographic images and other historical material related to the art and artists who have worked in Taos. Burt Harwood took hundreds of photographs of Hispanic villages and Indian Pueblos between 1916 and 1922. Even earlier are several photographs dated around 1880 of the Taos Pueblo by William Henry Jackson. The Will Connell collection from 1932 documents many of the artists and literary luminaries of Taos and Santa Fe. Two large collections of photographs and negatives, one by Regina Cooke and another by Mildred Tolbert, document life in the post World War II era in Taos. Additionally, a growing number of contemporary photographers are represented in the fine arts collection, including Gus Foster, William Davis, Van Deren Coke, Chuck Henningsen, and Paul O'Connor. Thus, for the Harwood, a drawing, print and photograph collection plays a vital role in its mission to collect and document the artistic changes taking place in our time.

The State Museum has collected over 12,000 works of art including paintings, prints, drawings, sculpture and photographs, most acquired since 1965 when the Museum's mission was expanded to include fine art.

The collection has an American focus that highlights the work of New Jersey artists within the context of American art history. Also included are works that depict New Jersey scenes and events. The strengths of the Fine Art collection lie in works by the American modernists associated with Alfred Stieglitz, American abstract artists of the 1930s and 1940s, a comprehensive collection of works by 19th and 20th-century African-American artists, contemporary American and New Jersey art, the complete graphic outputs of Ben Shahn and Jacob Landau and works by the New Jersey Fellows associated with the Brodsky Center for Innovative Editions/Rutgers University.

Recognized internationally as one of the finest collections in the world, the Center holds more than 90,000 works by 2,000 photographers. Our main strength is 20th century North American artists. We also hold significant collections of 19th and 20th century photography from around the world.

Photography is a growing area of strength for the Palmer and is an important aspect of the museum’s sizable American works on paper collection. Early practitioners of the medium represented include Mathew Brady, William Henry Jackson, and Carleton Watkins. The permanent collection also includes such modern masters as Edward Steichen, Paul Strand, Karl Struss, Berenice Abbott, Lewis Hines, Walker Evans, Gordon Parks, and W. Eugene Smith. The Palmer is also dedicated to collecting photography by notable contemporary artists and has works by Cindy Sherman, Carrie Mae Weems, Ana Mendieta, William Wegman, and Bill Jacobsen. The collection also features a select number of photographs by non-American artists, including André Disderi, Pierre Petit, Henri Cartier-Bresson, Julia Margaret Cameron, and Alexander Rodchenko.

The Brauer Museum of Art collection focuses on 19th- and 20th-century American art and also includes world religious art and Midwestern regional art. Paintings, sculpture, drawings, prints, and photographs are represented. Selections from the permanent collection are always on view in two of the museum's seven galleries and are frequently included in special exhibitions. Virtual exhibitions that highlight aspects of the collection are always available on the website, and a project to make a full listing of our holdings available online is well underway.