| BIO / RESUME/ William Larson was born in North Tonawanda, New York, in 1942. He passed away in 2019 after a decade-long battle with Parkinson’s and Lewy body dementia.
Much of his work focused on “the challenge to resolve, rationalize, or conceptualize ‘time’ through the essentially static medium of photography.” For Figure in Motion, an early experimental project, he modified a Hasselblad with a clock motor to mechanically advance the film at 1 rpm for a nine-minute exposure, the length of the roll of film, as his subject rotated 360 degrees. Each rotation provided a simultaneous view of all sides of the figure, resulting in a time-based, still photographic image. To produce Fireflies, electronic images made between 1971 and 1978, he used then state-of-the-art FAX technology. For Larson, they “suggest the arbitrary intersection of electronic sources colliding at a particular instant in time.” Reviewing Larson’s 2015 exhibition of this work for The New Yorker, Vince Aletti wrote, “These startling black and white images were made electronically four decades ago, using signals transmitted by FAX machines. The combinations of pictures (hands, lips, a huge housefly), words (‘press,’ ‘play,’ ‘prim,’ ‘plan’), and overlapping lines of jittery static suggest concrete poetry illustrated by Robert Rauschenberg. Closer to drawing than they are to photography, Larson’s experiments foreshadowed the digital-image revolution to come and are all the more fascinating for their primitive grit.” In the 1970s, Larson was invited to participate in the 20 x 24 Polaroid pilot program. His experimentation with the phenomenon of instant images resulted in his book Big Pictures, Little Pictures. In 1980, he was artist in residence at the University of Arizona where he documented the urban landscape, resulting in his series Tucson Gardens, for which he was awarded a Guggenheim Foundation fellowship. In the 1990s, Larson began working in video, again redefining for himself how an image might be made under a different set of criteria. He received a PEW Fellowship for this work in 2001. Between 2002 and 2012 he produced Film on Film, a series of photographs “celebrating film at the point of its declining materiality and transformation into an electronic medium.” Curator Robert Sobieszek thought Los Angeles was an ideal setting for the work and acquired a selection for the Los Angeles County Museum of Art. The recipient of four grants from the National Endowment for the Arts, Larson was asked to serve on the NEA Policy Panel in 1995. He was part of its Peer Panel for Individual Artists Fellowships in 1994. His work has been exhibited at the Museum of Modern Art, the Whitney Biennial, and in a one-person show at the ICA in Philadelphia, among other venues, and is in numerous collections around the world, including the Museum of Modern Art, the J. Paul Getty Museum, the Metropolitan Museum of Art, and the San Francisco Museum of Modern Art. He is represented by Gitterman Gallery, New York. He was an avid fly fisherman.
GRANTS / PROFESSIONAL 2001 Pew Fellowship in the Arts 1995 N.E.A. Policy Panel 1994 N.E.A. Peer Panel for Individual Artists Fellowships 1993 Aaron Siskind Foundation Fellowship 1992 National Endowment for the Arts Fellowship 1988 Pennsylvania Council on the Arts (also in 1983) 1986 National Endowment for the Arts Fellowship 1982 Guggenheim Fellowship 1981 Governor’s Award for the Arts 1979 National Endowment for the Arts Fellowship 1979 Polaroid Corporation (SX-70 Program) 1979 Polaroid Corporation (20×24 Program) 1971 National Endowment for the Arts Fellowship CURATORIAL “P(re)Vision: The Works of Jim Campbell,” Maryland Institute College of Art. November-December 2004 “Situated Realities,” Maryland Institute College of Art. Twenty-six international digital artists; February 1-March 17, 2002. Traveled to Art Center College of Design, Pasadena, CA, and Minneapolis College of Art and Design PHOTOGRAPHS IN PERMANENT COLLECTIONS The J. Paul Getty Museum, Los Angeles Metropolitan Museum of Art, New York San Francisco Museum of Modern Art Cleveland Museum of Art Smithsonian American Art Museum Museum of Modern Art, New York The Morgan Library & Museum, New York Berkeley Art Museum Los Angeles County Museum of Art National Gallery of Canada, Toronto Auckland Art Museum, University of North Carolina at Chapel Hill Internacional Electrographic Art Museum, Cuenca, Spain George Eastman Museum Philadelphia Museum of Art DeCordova Museum, Lincoln, Massachusetts Chrysler Museum, Norfolk, Virginia International Center of Photography, New York Museum of Art, Princeton University The Museum of the Art Institute of Chicago The Addison Gallery, Phillips Academy, Andover, Mass. National Gallery of Art, Sydney, Australia Museum of Art and History, Freibourg, Switzerland Museum of Art, Rhode Island School of Design Smart Museum of Art, University of Chicago University of Exeter, American Arts Documentation Center, England New Orleans Museum of Art High Museum of Art, Atlanta Amon Carter Museum of Art University of Hartford Museum, Connecticut Allen Art Museum of Oberlin College Baltimore Museum of Art Kalamazoo Institute of Art, Michigan University of Tennessee, Knoxville Photographic Archives, University of Louisville Center for Creative Photography, Tucson Sprint Collection, Kansas City, Missouri Allentown Art Museum Sun Valley Center for the Arts and Humanities, Idaho The Hallmark Photographic Collection EXHIBITIONS Stephen Daiter Gallery, Chicago, “Medium as Message: Generative and Experimental Works from the Chicago School,” Feb. 9 – April 12, 2024 New Orleans Museum of Art, “A Brief History of Photography and Transmission,” June 25, 2021 – March 20, 2022 Philadelphia Art Alliance/Rosenwald-Wolf Gallery, University of the Arts, “Invisible City: Philadelphia and the Vernacular Avant-garde,” Jan. 21 – April 4, 2020 Center for Creative Photography, Tucson, “The Qualities of LIGHT: The Story of a Pioneering New York City Photography,” Dec. 14, 2019 – May 30, 2020 George Eastman Museum, “A History of Photography,” May 3 – October 20, 2019 San Francisco Museum of Modern Art, “snap+share: transmitting photographs from mail art to social networks,” March 30–August 4, 2019 Berkeley Art Museum and Pacific Film Archive, “Unlimited: Recent Gifts from the William Goodman and Victoria Belco Photography Collection,” March 27–September 1, 2019 Los Angeles County Museum of Art, “Light Play: Experiments in Photography, 1970 to the Present,” Feb. 8 – June 18, 2017 Hong Kong International Photo Festival, Hong Kong Heritage Museum, “What Do You Want For Tomorrow?,” Aug. 10 – Sept. 26, 2016 The Morgan Library & Museum, New York, “Sight Reading: Photography and the Legible World,” February 19 – May 30, 2016 Gitterman Gallery, New York, “William Larson: Fireflies,” April 29 – July 2, 2015 Phoenix Art Museum, “One-of-a-Kind: Unique Photographic Objects from the Center for Creative Photography,” April 11 – Oct. 25, 2015 Gallery 339, “It’s a Long Way to Tipperary,” Feb. 6 – Feb. 28, 2015 Museum of Fine Arts, Houston, “Shadows on the Wall: Cameraless Photography from 1851 to Today,” Aug. 31 – Nov. 30, 2014 Ackland Art Museum, University of North Carolina at Chapel Hill, “PhotoVision: Selections from a Decade of Collecting,” Sept 19, 2014 – Jan. 4, 2015 CEPA Gallery, Buffalo, NY, “Transformational Imagemaking: Handmade Photography Since 1960,” Sept. 16 – Nov. 10, 2014 Center for Creative Photography, Tucson, “Made in Arizona, Photographs from the Collection,” Aug. 18-Nov. 25, 2012 Metropolitan Museum of Art, “Naked before the Camera,” April 4-Sept. 9, 2012 339 Gallery, Philadelphia, “William Larson: The Cut /,” Nov. 18, 2011 – Jan. 28, 2012 Silver Eye Center for Photography, Pittsburgh, “Keystone.1: Pennsylvania Photography Biennial,” June 27 – Aug. 27, 2011 Higher Pictures, New York, “The Students of Harry Callahan and Aaron Siskind at the Institute of Design,” Sept. 25 – Oct. 30, 2010 Museum of Art, Rhode Island School of Design, “Presence through Process,” Jan. 15 – June 20, 2010 Philadelphia Museum of Art, “Common Ground: Eight Philadelphia Photographers in the 1960s and 1970s,” 2009 Amon Carter Museum, Fort Worth, “Masterworks of American Photography,” May 25-Sept. 2, 2008 339 Gallery, Philadelphia, “Philadelphia Masters,” Dec. 15, 2007-March 8, 2008 Metropolitan Museum of Art, “Hidden in Plain Sight: Contemporary Photographs from the Collection,” April 5-Sept. 3, 2007 Stephen Daiter Gallery, Chicago. “From Fair to Fine: 20th Century Photography Books that Matter,” Nov. 3-Dec. 29, 2006 The Richard L. Nelson Gallery, University of California, Davis. “Still Moving: Selected Video by Photographers,” Sept. 28-Dec. 10, 2006 Philadelphia Museum of Art, “Mavericks of Color Photography,” July 30-November 27, 2005 Fine Arts Center Galleries, University of Rhode Island, Providence. One-Person Exhibition, Nov. 4-Dec. 12, 2004 Howard Greenberg Gallery, New York, “Seven from the Seventies,” June 17-July 31, 2004 Center for Creative Photography, University of Arizona, Tucson, “Center of Things,” April 3-July 18, 2004 Philadelphia Museum of Art, “The Faceless Figure: Photographs from the Permanent Collection,” Jan. 18-June 13, 2004 The Renaissance Society, University of Chicago, Museum of Art. “Movement,” Sept. 15-Oct. 14, 2003 The Photography Gallery, London. “Overnight to Many Cities,” April 3-May 20, 2002 The Museum of the Art Institute of Chicago. “Taken by Design: Photographs from the Institute of Design 1937-1971,” Mar. 2-May 12, 2002. Book published; traveled to: San Francisco Museum of Art Philadelphia Museum of Art Arcadia University, Philadelphia. One-Person Exhibition. Mar. 26-April 30, 2002 Chrysler Museum of Art, Virginia. “An American Century of Photography: From Dry Plate to Digital,” Feb. 27-May 19, 2002 303 Gallery, New York. “Overnight to Many Cities,” May 31-June 13, 2001 Los Angeles County Museum of Art, “Drawn from Photography,” May 17-Aug. 14, 2001 Delaware Art Museum, Wilmington. “An American Century of Photography, From Dry-Plate to Digital, The Hallmark Photographic Collection,” Feb. 9-April 22, 2001 Philadelphia Museum of Art, “Works from the Collection,” May 1-Aug. 20, 2000 Visual Studies Workshop, Rochester, NY. One-Person Exhibition. Mar.18-May 13, 2000 J. Paul Getty Museum, Los Angeles. “The Color Tradition,” Oct. 26-Jan. 30, 2000 CEPA Gallery, Buffalo. “William Larson: Selected Electronic Works 1969-99,” Sept. 17-Dec. 17, 1999 Center for Creative Photography, Tucson. “Bodies of Work: Series and Obsessions from the Center for Creative Photography”, Jan. 20-March 21, 1999. University of Maryland, Baltimore. “Digital Media Art,” Nov. 3-Dec. 18, 1998. Los Angeles County Museum of Art, “Flora,” May-August, 1998. Contemporary Museum, Baltimore. “Mysterious Voyages,” Feb. 7-Mar. 10, 1998. Florida State University, Tallahassee. “Gun As Image,” Feb. 21- Apr. 6, 1997. Catalogue published. Allentown Art Museum, Allentown, PA. “The Photography Collection in Review,” Jan. 19-March 23, 1997. International Center for Photography, New York. “25 Years of Light Gallery,” 1996. Atrium Gallery, University of Connecticut, Storrs. “One Person Exhibition, Sept. 3-27, 1996. Catalogue published. Center for Creative Photography, Tucson. “Recent Acquisitions, 1992-1996,” March 17 – April 10, 1996. Krannert Art Museum, Champaign, IL. One-person exhibition, Nov. 17, 1995 – Jan. 21, 1996. Catalogue published. University of Rhode Island, Kingston. One-person exhibition, Oct. 13 – Nov. 10, 1995. Rhode Island School of Design, Providence. One-person exhibition, Sept. 11 – Oct. 6, 1995. Metropolitan Museum of Art, New York. “Recent Acquisitions,” May 15 – June 30, 1995. Gallery 494, New York. “Pride and Prejudice,” curated by Shari Diamond, March 30 – April 22, 1995. Hong Kong Centre for the Arts, “International Tutor’s Exhibition,” March 18 – April 10, 1995. Boston Center for the Arts, “Image Interrupted,” curated by Darcy Alexander, Feb. 15 – March 26, 1995. Yale University, “Traditional and Contemporary Emblems,” Jan. 13 – March 5, 1995. Catalogue published. Joseloff Gallery, University of Hartford, “Beyond the Label,” Oct. 24 – Nov. 18, 1994. In conjunction with the Society for Photographic Education Conference. Maryland Art Place, Baltimore. “Theatre du Monde.” One-person exhibition, March 26 – May 7, 1994. Catalogue published. Center for Creative Photography, Tucson. “Image and Text,” Jan. 15 – Feb. 28, 1993. Institute of Contemporary Art, Philadelphia. “Artists Choose Artists,” Oct. – Jan., 1991. Catalogue published. Alfred University, New York. “Another View: A Selection of Contemporary Prints,” Sept. 12 – 30, 1990. Southern Alleghenies Museum of Art, “Hard Choices/Just Rewards,” Aug. 21 – Sept. 27, 1989. Pennsylvania Visual Art Fellowship Exhibition. Center for Creative Photography, Tucson. “Extending the Boundaries of Photography,” Sept. 20, 1988 – Jan. 21, 1989. Bard College, New York. “Sequence (con) Sequence.” Feb. 10 – April 15, 1989. Book published. University of Maryland, Baltimore. “Frames of Reference,” Oct. 11 – Nov. 16, 1989. Catalogue published. City of Baltimore, Artscape 1989. “Social Signs,” July 13 – Aug. 15, 1989. One billboard image installed at 1300 Mt. Royal Avenue. Los Angeles County Museum. “Art and Photography, Interactions Since 1946,” Sept. – Oct., 1987. Ten photograms; traveling exhibition; book published. Philadelphia Museum of Art, “Recent Acquisitions,” Oct. 10 – Nov. 3, 1987. Institute of Contemporary Art, Philadelphia, “William Larson, 1969-1985,” May, 1985. Catalogue published. Munchner Stadtmuseum, Munchen, Germany, “The Nude in Photography,” Jan. 1 – April 4, 1985. Museum of Modern Art, New York, “Recent Acquisitions/Color Photography,” Aug. 18 – Nov. 15, 1984. Museum of Modern Art, New York, One photograph installed in Permanent Collection Gallery, 1982-1983. Princeton University, New Jersey, “New Technology: New Art,” March 1 – 20, 1983. Franklin Institute, Philadelphia, “Lenseless Photography,” May 12 – Nov. 30, 1983. Invitational Group Show; two electro-carbon prints. Southern Illinois University at Carbondale, “Contemporary Color Photography,” March 23 – April 10, 1983. International Museum of Photography at George Eastman House, Rochester, NY. “Color as Form: A History of Color Photography,” 1983. Traveling exhibition. Center for Creative Photography, Tucson. One person exhibition, Jan., 1983. Light Gallery, New York. One person exhibition, Oct. 14 – Nov. 10, 1981. Museum of Modern Art, New York. “The Still Life,” (historical survey), Oct. 8 – Dec. 15, 1981. Corpus Christi State University, Texas. “Beyond the Valley of Photography,” April 3 – May 16, 1981. Four person exhibition. Edinboro State College, Pennsylvania. “The Constructed Photography,” April 22 – May 30, 1981. Three person exhibition: Cummings, Toth, Larson. Whitney Museum of American Art, New York. “Biennial Exhibition 1981.” Three color photographs; catalogue published. Light Gallery, New York. “Polacolor: Survey of Color and Scale in Recent Polaroid Photography,” Oct., 1980. Traveling exhibition; catalogue published. Gallerie Rudolf Kicken, Koln, Germany. “American Color Photography,” June 11 – Sept. 6, 1980. Catalogue published. Institute of Contemporary Art, Philadelphia. “Street Sights,” April – May, 1980. One of a group of photographic posters for public exhibition in the metropolitan buses. Freedman Gallery, Albright College, PA. “Presences: The Figure and Manmade Environments,” Feb. 24 – March 20, 1980. Catalogue published. Los Angeles Institute of Contemporary Art. One person exhibition, April, 1980. Franklin Institute, Philadelphia. “New Spaces, The Holographer’s Vision,” Sept. 26 – March 21, 1980. Catalogue published. International Museum of Photography, Rochester, NY. “Electro Works,” Nov. – Dec., 1979. Book published. P.S. 1, New York. “The Altered Photograph,” (24 walls, 24 curators), April 22 – June 10, 1979. Light Gallery, New York. One person exhibition, Sept., 1979. Santa Barbara Museum of Art, CA. “Attitudes: Photography in the Seventies,” May 12 – Aug. 5, 1979. Everson Museum of Art, Syracuse, NY. “Alternative Imaging Systems,” Feb. 19 – March 21, 1979. Catalogue published. Bard College, New York. One person exhibition, Feb. 12 – March 3, 1979. University of Hawaii. “Spectrum: New Directions in Color Photography,” Nov. 15 – Dec. 30, 1979. Catalogue published. Pittsburgh Filmmakers, PA. One person exhibition, Oct. 3 – 31, 1978. Museum of Modern Art, NY. “Mirrors and Windows, Photography Since 1960,” July 28 – Oct. 2, 1978. San Francisco Camerawork Gallery, CA. One person exhibition, July 11 – Aug. 21, 1978 M.I.T. Hayden Gallery, Cambridge, MA. “American Color Photography,” April 11 – May 30, 1978. Rhode Island School of Design Museum of Art, Providence. “Spaces,” curated by Aaron Siskind, April 11 – May 30, 1978. Six person exhibition; book published. Los Angeles Institute of Contemporary Art. “Artworks/Bookworks,” Feb. 28 – March 30, 1978, printed matter and small edition. Light Gallery, New York. One person exhibition, Feb. 1 – 25, 1978. M.I.T. Hayden Gallery, Cambridge, MA. “Eye of the West: Camera Vision and Cultural Consensus,” Oct. 14 – Nov. 30, 1977. Indiana University Museum. “Contemporary Color Photography,” Sept. 4 – Oct. 8, 1977; six photographs. International Museum of Photography, Rochester. “Locations in Time,” Feb. 18 – April 10, 1977; two photographs. International Art Festival at Arles, France. Aug. 8 – 15, 1977; six color photographs. University of Oregon, Eugene. One person exhibition; Feb. 1 – 27, 1977. Southern Illinois University. One person exhibition; Feb. 14 – 28, 1977. Light Gallery, New York. One person exhibition; Feb. 9 – March 1, 1977. Art Institute of Chicago. One person exhibition; April 17 – May 2, 1977. Philadelphia Museum of Art. “Three Centuries of American Art,” April 10 – Dec. 31, 1976; book published. Philadelphia Museum of Art. “American Family Portraits,” Feb. 28 – Dec. 31, 1976. Cornell University. “Photo/Synthesis,” April 21 – June 16, 1976; catalogue published; two electro-carbon prints. Vision Gallery, Boston. “Larson, Gowin, Michaels, Callahan,” Jan. 17 – Feb. 20, 1976. St. Mary’s College. “Generative Imagery,” Jan. 31 – Feb. 26, 1976; ten electro-carbon prints; catalogue published. University of South Dakota, Vermillion. One person exhibition; Jan. 25 – Feb., 17, 1976. University of Tennessee, Knoxville. One person exhibition; Jan. 25 – Feb. 17, 1976. Philadelphia Print Club. “Three Philadelphia Photographers (Larson, Gowin, Williams),” Sept. 5 – 23, 1975; portfolio/color photographs. U.C.L.A. “Summer Faculty,” July 21 – Aug. 3, 1975; 12 photographs. NOVA at Park Center, Cleveland. “Twelve Photographers,” May 13 – June 6, 1975; six electro-carbon prints; catalogue published. Gallery Optica, Montreal. “The American Presence,” (Larson, Gowin, Callahan, Newman, Sommer), May 12 – June 9, 1975. Northeastern University Art Museum, Boston. “New Directions in Photography,” March 3 – 30, 1975; thirteen pieces. University of Hartford, CT. “Photography: A Sense of Timing,” Feb. 2 – 28, 1975; six color photographs. Light Gallery, New York. One person exhibition; Dec. 10 – Jan. 4, 1975. Harvard University, Cambridge. “Photography Unlimited,” Sept. 13 – Oct. 30, 1974; catalogue published. Rochester Institute of Technology, NY. “Straight Color,” March 15 – April 15, 1974; five photographs. Southern Illinois University, Carbondale. “Synthetic Color,” March 3 – 29, 1974; catalogue published. Archetype, New Haven, CT. “Projections,” March 10 – 31, 1974. California State University at Humbolt. “Variety Show II,” Feb. 25 – March 15, 1974. Columbia College, Chicago. One person exhibition; Sept. 25 – Oct. 25, 1973. Akron Art Institute, Ohio. “Images: Dimensional, Moveable, Transferable,” Oct. 1 – Nov. 10, 1973; five electro-carbon prints; catalogue published with introduction by Larson. Hudson River Museum, Yonkers. “Light and Lens,” June 30 – Sept. 16, 1973; catalogue published. Light Gallery, New York. One person exhibition; March 3 – April 28, 1973. Museum of Contemporary Crafts, New York. “Sewn, Stitched and Stuffed,” April 18 – June 14, 1973; catalogue published. Texas Tech University, Lubbock. “Invitational Contemporary Photography,” March 3 – 24, 1973; six photographs. Museum of Modern Art, New York. “Unique Photographs, Sculpture Multiples,” Nov. 15 – Jan., 1973; six mixed media pieces. Photokina, Cologne, Germany. “Sequences,” Sept. 23 – Oct. 1, 1972; two photographs. State University of New York, Potsdam. One person exhibition; Nov. 17 – Dec. 22, 1972. Philadelphia Museum of Art. “The Expanded Photograph,” Sept. 29 – Oct. 1, 1972; catalogue published. San Francisco Art Institute. “Sequence,” Aug. 29 – Oct. 1, 1972; twenty photographs. Pennsylvania State University, University Park. “Beginnings,” March 10 – April 9, 1972; ten color photographs; catalogue published. Moore College of Art, Philadelphia. “Portrait Photographs,” March 10 – April 14, 1972; one electro-carbon print; catalogue published. Museum of Contemporary Crafts, New York. “Photo/Media,” Sept. 23 – Jan. 1, 1972; eight pieces; catalogue published. Memphis Academy of Arts, Tennessee. “Photography Invitational 1971,” March 1 – 31, 1971; five color photographs; catalogue published. San Diego State College. “Photomedia U.S.A.,” April 15 – May 15, 1971; six color photographs; catalogue published. University of Exeter, Exeter, England. “American Contemporary Photography,” April 1 – May 30, 1970; three color photographs. Maryland Institute, College of Art, Baltimore. One person exhibition; April 27 – May 22, 1970. West Texas Museum, Lubbock. “Colorprint U.S.A.,” Nov. 2 – 23, 1969. Museum of Modern Art, New York. “Portraits in Photography,” Aug. 15 – Sept. 25, 1969. George Eastman House, Rochester. “Vision and Expression,” Fall, 1968; book published. PUBLICATIONS: BOOKS “How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to the Digital Age,” by Andy Grundberg, pub. by Yale University Press, 2021 “The Photographer in the Garden,” pub. by the Aperture Foundation, 2018 “Open Aperture: The Evolution of Photography in an Abstract World,” by Paul Matte, pub. by Schiffer, 2018 “Transformational Imagemaking: Handmade Photography Since 1960,” Robert Hirsch, pub. by Focal Press, 2014 “Light and Lens: Photography in the Digital Age,” edited by Robert Hirsch, pub. by Elsevier’s Focal Press; 2007 “Handbook of the Photographs Collection,” pub. by The J. Paul Getty Museum, 1995, pg. 227 “Taken by Design: Photographs from the Institute of Design, 1937-71.” Pub. by the Museum of the Art Institute of Chicago, 2002. “Photomontage,” Stephen Golding, pub. by Rockport Pub., Inc., MA, 1997. Color reproductions. “Album,” published by l’ecole des loisirs, Paris, 1996. Color reproduction, pg. 172. “Kobe Aid Fund: World Photo Art Exhibition and Auction,” 1996. Color photograph, pg. 249. “An American Century of Photography, From Dry Plate to Digital,” pub. by Abrams, 1995. “Photographing in the Studio,” G. Kolb, pub. by Brown and Benchmark, 1993. Reproductions. “Photography at the Dock,” edited by Abigail Solomon Godeau, pub. by University of Minnesota Press, 1991. Reproductions. “Artists Choose Artists,” published by the Institute of Contemporary Art, Philadelphia, 1991. Reproductions. Museum of Modern Art Calendar, 1991, New York, one color photograph. “Decade by Decade,” pub. by Center for Creative Photography, Tucson, edited by James Enyeart, 1990, pg. 86-86. “Photography and Art,” pub. by Abbeville Press, edited by Grundberg and Gauss, 1990, pg. 131. “The Creative Camera,” pub. by Davis Publishing, NY, edited by N. Howell – Koehler, 1989, pg. 108. “Postmodern Currents,” pub. by UMI Press, edited by M. Lovejoy, 1989, pg. 121-123. “Sequence (con)Sequence,” pub. by Aperture, NY, edited by Julia Ballerini, 1989, pg. 60-62. “Photography and Art, Interactions Since 1946,” edited by Grundberg and Gauss, pub. by Abbeville Press, NY, 1987, pg. 29, 115, 118-19, 131, 249. “American Images, Photography 1945-1980,” edited by Peter Turner, pub. by Penguin, 1985, pg. 207. “American Photography,” pub. by Abrams, edited by J. Green, 1984, pg. 149, 154, 159, 160. “Aperture,” pub. by Aperture Inc., Millertown, NY, No. 94, color portfolio, “Tucson Gardens.” “New Color/New Work,” pub. by Abbeville Press, NY, edited by Sally Eauclair, color portfolio, 1984, pg. 115-125. “Exposed and Developed, Photography Sponsored by the National Endowment for the Arts,” pub. by The Smithsonian Institution Press, edited by Merry Foresta, 1984. “20th Century Photographs From the Museum of Modern Art,” pub. by M.O.M.A., 1983, pg. 96. “The Gallery of World Photography,” (Volume: New Trends) pub. by Shueisha Publishing Co., Tokyo, 1983. “The Gallery of World Photography,” (The Human Figure), pub. by Dai Nippon, Tokyo, 1983. “Contemporary Photographers,” pub. by St. Martins Press, Inc., NY, pg. 434-35. “Aperture,” pub. by Aperture, Inc., Millertown, NY, “The New Vision, Forty Years at I.D.,” fall, 1981. “Photo Freibourg 81,” pub. by Museum of Art of Freibourg, Switzerland, pg. 130. “Whitney Biennial 1981,” pub. by Whitney Museum of American Art, pg. 119. “Big Pictures, Little Pictures,” pub. by Gravity Press, 1979, Monograph/Polaroid work by William Larson. “Photo Art Process,” pub. by Davis Publications, Inc., 1980, pg. 17. “One of a Kind,” pub. by Polaroid Corp., Cambridge, MA, color portfolio, 1979. “Photokina Bilderschauen,” pub. by Koln, 1978, pg. 157. “Photo Freibourg 78,” pub. by Museum of Art of Freibourg, Switzerland, pg. 40-41, 157. “Innovative Printmaking,” by Thelma Newman, Crown Publishers, Inc., New York, 1977, pg. 260-61. “Who’s Who in American Art,” pub. by J. Cattell Press, 1978, Tempe, AZ. “Spaces,” edited by Aaron Siskind, pub. by R.I.S.D. Museum of Art, 1978, portfolio. “The Photography Catalogue,” pub. by Harper and Row, 1977, pg. 192, 152. “Fire Flies,” Gravity Press, Philadelphia, 48 pg. Monograph/transmitted images by William Larson. “Three Centuries of American Art,” pub. by Philadelphia Museum of Art, 1976, one photograph and biography. Picture Editor for “Moholy-Nagy Photographs,” pub. by Clairmont Colleges, CA, 1975, pg. 70, monograph. “Photographer’s Choice,” pub. by Addison House Foundation, MA, 1975, color portfolio. “Photography, A Handbook of History, Materials and Processes,” Holt, Rinehart and Winston, Inc., 1974, one photograph, pg. XIII. “Light and Lens,” pub. by Morgan and Morgan, Inc., 1973, four photographs, pg. 60-61. “The Art of Photography,” Time-Life Library of Photography, 1971, two color photographs, pg. 171-72. “The Great Themes,” Time-Life Library of Photography, 1970, All photographs for chapter on the nude (served as photographer consultant on this chapter), pg. 144-45, one photograph, portfolio section, “The Portrait.” “Vision and Expression,” George Eastman House, 1968, Nathan Lyons, editor, one photograph, pg. 134. PUBLICATIONS: PERIODICALS, OTHER Dear Dave, Vol. 26, Fall 2017 / Winter 2018, “Fireflies: Fax Machine Images: On William Larson,” by Charles H. Traub. The New York Times, June 19, 2015, “William Larson ‘Fireflies,’” by Martha Schwendener The New Yorker, May 18, 2015, “William Larson” Collector Daily, May 1, 2015, “William Larson Fireflies @ Gitterman,” by Richard B. Woodward The Hopkins Review, Johns Hopkins University Press, winter, 2012. “William Larson Film on Film: Seven Photographs” The Getty Conservation Institute Newsletter, Vol. 22, No.3, 2007, “The History and Conservation of Digital Prints: Research in Progress,” by Martin Jurgens, pg. 5. Photonews, Nr. 2/07, February 2007, Hamburg, Germany, “William Larson, Die Stille der Bewegten Bilder,” by Denis Brudna. Six photographs, pg. 14-15. Exposure, Vol. 36:1, 2003. “Flexible Images: Handmade American Photography, 1969-2002,” by Robert Hirsch. One photograph, pg. 31. ArtForum, Sept., 2002. Review: “William Larson at Arcadia University Art Gallery,” by Eileen Neff. One photograph, pg. 207. New Art Examiner, pub. by Chicago New Art Association, Vol. 22, No. 2. Article: “Theatre du Monde,” by Bill Gaskins. One photograph, pg. 40-41. European Photography, Vol. 10, No. 4, 1989, pub. by Kurt Schumacher – Weg, West Germany, Illus. pg. 50. Photo Review, Vol. 11, No. 4, pub. by Photo Review Inc., Langhorne, PA. 1988, portfolio, pg. 17-20. Journal of the Texas Photographic Society, pub. by University of Texas, Winter 1988, pg. 24-25. European Photography, pub. West Germany, two photographs, pg. 27 – 28, 1986. Art News, pub. by Art News Assoc., NY. Article by A.D. Coleman, pg. 156, 1986. LACPS Newsletter, pub. by Los Angeles Center for Photographic Studies. Cover Image, April 1980. Modern Photography, pub. by ABC Magazines, March, 1980, pg. 78. Artweek, Oakland, CA. Review, ”Image as Information Carrier,” by Mark Johnstone. One photograph reproduced, April, 1980. Modern Photography, pub. by ABC Magazines, Inc., NY February, 1978. Color photograph in article: “Flash Pros Pick the Portables,” pg. 95. Camera, pub. by C.J. Bucker, Lucerne, Switzerland. Color photograph in article: “Second Generation Color,” by Allan Porter, July, 1977. AfterImage, Visual Studies Workshop, Dec., 1976, pg. 4, 5, and 18. Feature article: “William Larson: Time and Structure,” by Skip Atwater. Artweek, Oakland, CA. Review/Tension Through Color by David Featherstone. Philadelphia Art Exchange, pub. by The Art Institute of Chicago, 1977. Portfolio of original work. Underwear, pub. by The Art Institute of Chicago, 1976. Portfolio of original work. American Poetry Review, pub. by World Poetry, Inc., Philadelphia, 1976. One photograph, pg. 25. Newsweek. Featured in article: “New Frontiers in Color,” by Rourke and Davis, pg. 56-60, April 19, 1976 issue, photograph of artist and one color photograph. Camera, pub. by C.A. Bucher, Lucerne, Switzerland. One photograph in special issue: “The Best of Camera,” December, 1975. Untitled 9, pub. by The Friends of Photography, Carmel, CA, 1975. One photograph, pg. 17. Philadelphia Magazine, pub. by Municipal Publications, Inc., August, 1973. One photograph in article on Philadelphia artists, pg. 104-105. Craft Horizons, Vol. 33, No. 2, April, 1973. Article: “Sewn, Stitched and Stuffed.” Cover and one photograph, pg. 30-31. Modern Photography, pub. by Billboard Pub., Inc., February, 1972, special issue on sequential imagery. Three color photographs, pg. 78-79. Camera, pub. by C.A. Bucher, Lucerne, Switzerland. One photograph in special issue: “Sequential,” October, 1972, pg. 143. Fox, pub. by Shiryoku, Inc., Boston, Vol. 1, No. 1, January, 1972. Two color photographs. Technical Photograph. Three photographs and article: “Photo/Media,” Dec., 1971, pg. 20, 21, and 28. Craft Horizons, Vol. 31, No. 6, Dec., 1971. One photograph and article: “Photograph as Media,” by D. Hare, pg. 15. Photographic Applications in Science, Technology and Medicine. One photograph and article: “Photo/Media,” by R. Lehmann, Nov., 1971, pg. 19. Modern Photography, pub. by Billboard Publications, Inc., Vol. 35, No. 9, Sept., 1971. Four photographs, pg. 68. Psychiatry and Social Science Review, New York, Vol. 5, No. 4, 1971. One photograph, pg. 8-9. Prism International, International Journal of Literature, Vol. 10, No. 2, University of British Columbia, Canada, fall, 1970. Cover photograph and seven b/w photographs, pg. 63-70. Modern Photography, pub. by Billboard Publications, Inc., Vol. 35, No. 4. Article: “The Human Figure in Motion,” by photographer with illustrated pg. 78-81, April, 1971. Mundus Atrium, A Journal of International Literature and the Arts, pub. by Ohio University Press, Spring, 1971. Cover and three photographs with article by artist. Modern Photography Annual, pub. by Billboard Publications, Inc., 1979. Four color photographs, pg. 118-119. Camera, pub. by C.A. Bucher, Lucerne, Switzerland, April, 1970. Eleven photographs, includes article about artist and article written by artist, pg. 36-43. Art in America. Article: “Photography as Printmaking and Sculpture,” by Peter Bunnell, Sept./Oct., 1969, and one color photograph, pg. 56-61. Playboy Magazine, pub. by Hugh M. Hefner, Inc., Vol. 15, No. 10, Oct., 1969. One color photograph commissioned illustration for article, pg. 149. Woman Annual 1968, pub. by Ziff-Davis, Inc., NY. Two photos, pg. 133. Popular Photography Annual 1968, pub. by Ziff-Davis, Inc., NY. One photograph, pg. 119. International Harvester Today, pub. by International Harvester, 1968. Commissioned illustration for article. Three photographs, pg. 10-11. Modern Photography, pub. by H. Kappler, NY, Sept., 1966. One photograph, pg. 71. |
