Bill Dane: The Photographic Postcard As a Conceptual Art WorkBill Dane: The Photographic Postcard As a Conceptual Art Workhttp://www.haverford.edu/calendar/details/261278/1408021200Magill Alcove Gallery2014-08-14T09:00:002014-08-14T18:00:00
August 14, 9:00AM–6:00PM
Magill Alcove Gallery
An exhibition running from May 30 to October 5, 2014 in Magill Library's Alcove Gallery
Bill Dane, Keeping The Boundries Clear, 1977. Gift of Thomas H. Garver, 2011.
Bill Dane: The Photographic Postcard As a Conceptual Art Work
Alcove Gallery, Magill Library
May 30–October 5, 2014
Summer Hours (May 30–August 31):
Monday–Thursday: 9:00 a.m.–6:00 p.m.
Friday: 9:00 a.m.–4:00 p.m.
Fall Hours (September 1–October 5):
Weekdays: 9:00 a.m.–8:00 p.m.
Weekends: 10:00 a.m.–8:00 p.m.
Thomas H. Garver, Haverford College class of 1956 was contacted last June to solicit ideas as to how to structure an exhibition to acknowledge his support of the photography collection at Haverford over two decades. He replied that his gift should be thought of as an “Accidental Collection” because that is what it is. The hundreds of prints and related material that he has given signify that it is more than that. O. Winston Link, Charles Currier, vernacular photography and Bill Dane’s real photographic postcard correspondence stand out because of their sheer numbers and affinity with each other. Garver wrote of Dane’s postcard photographs:
One might imagine Dane as one photographer among many in a crowd, waiting for the momentary appearance of a "great personality," The figure appears–all cameras fire in unison–except Dane's, His reflexes appear to be curiously skewed. While all the other Photographers get the standard "shot," Dane gets the special, perhaps awkward, but very personal photograph, the photograph that turns our "personality" back into a person.
Dane’s photographic postcard correspondence to Garver is a succinct summing up of this esthetic and the state of photography in the middle of the 20th century. The twenty-four postcards on exhibition are at once a meditation on the meaning of photographs, the technology of image transmission and a record of a correspondence between friends. The cards are displayed so that both sides can be seen. This allows the image and text to be experienced as Dane made them. Tom’s description of his gift as “Accidents” is instructive and a rewarding way to look at and to appreciate the originality of Bill Dane’s work.
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William E. Williams