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Barbara Crane, Photographs, 1948-1980

Crane, Barbara

Center for Creative Photography

Barbara Crane’s subjects are commonplace: a piece of driftwood, a cluster of wild mushrooms, a crowd of commuters rushing for the train. The resulting photographs, however, are far from ordinary. They are imaginative, peculiar, jarring, and, like their creator, defy easy explanation. 
 For more than sixty years, Crane has forged her own path as a photographer. Lacking a darkroom, she began using Polaroid materials. Lacking suitable models, she paid her children to pose. Barbara Crane: Challenging Vision celebrates this Chicagoan’s wide-ranging art with a gorgeous collection of more than 250 color and black and white photographs. 
“Once I developed my first role of film in 1948,” Crane notes, “nothing else mattered.” Spanning the breadth of her career, from early studies of the human form to long narrow landscapes evoking Asian scrolls; from silver gelatin and platinum prints to present-day digital works, it is by far the largest and most definitive overview of her work to date. Replete with a critical analysis by John Rohrbach and a biographical essay by Abigail Foerstner, it will delight and challenge anyone interested in contemporary photography.

Barbara Crane: Challenging Vision

Arts & Photography

Individual Artists

Chicago Department of Cultural Affairs

Hemmed in on three sides by the "El" and on the fourth by Lake Michigan, Chicago's downtown core is a vital conglomeration of architectural histories, from the birth of the skyscraper through to the perfection of International Style and onward toward postmodern eclecticism. The Loop, as the area is known, has long fascinated photographers, and Barbara Crane is no exception. Between 1976 and 1978, she wheeled a bright-red leather golf bag around the neighborhood. The bag contained a 5-by-7 view camera, which she used to expose more than 500 negatives. Later edited down to a finished series of 90 pictures, and published here as a selection of 40, Crane's images capture the interstitial urban spaces that exist in between every building block of the Loop's circumscribed grid.

Barbara Crane: Chicago Loop

Heagy, Thomas

McNear, Sarah Anne

Heagy, Thomas C.

Lasalle Bank Na

Winner of the best Historical Fiction of 2016 at the annual Beverly Hills Book Awards®.
In her latest novel, award-winning author Barbara Crane’s provides a vivid picture of the people who once lived in Los Angeles, their sorrows and their triumphs. American immigrants, Mexican Californios, Tongva/Gabrieleno Indians and Spanish padres come to life in her imaginative re-telling of California’s Mexican era. As the novel unfolds, its themes of loss, hope and redemption resonate from every page.
Once upon a time in Los Angeles, water was everywhere—in rivers that rendered the vast plain marsh and woodland; in underground streams that provided an abundance of water for people, cattle, orchards and vineyards. Here you will meet the American Henry Scott who encounters this fertile landscape in When Water Was Everywhere. Arriving in the Mexican pueblo of Los Angeles in 1842, he meets Don Rodrigo Tilman (based on the historical John Temple). Scott becomes the foreman of Tilman’s newly-purchased cattle ranch along the Los Angeles River, the present day Rancho Los Cerritos. As Scott learns about ranchos and cattle, vaqueros and Indians, Mexican California and Tongva Indian village life come alive under Barbara Crane’s deft grasp of narrative and history.

When Water Was Everywhere

Literature & Fiction

United States

Lagoon House Press, LLC

Three Writers/One Photographer: An Anthology

Pal-Brown, Marie

Lagoon House Press

Contemporary

In the early 1980s, Barbara Crane embarked on a series of photographs shot during Chicago's various summer festivals. Using a Super Speed Graphic camera and Polaroid film, Crane waded in close to the revelers, tracking down the details of their clothing, hairstyles and gestures. The images are tightly cropped and condensed and therefore terrifically alive, bringing us viscerally into the crush of people eating, drinking and enjoying the crowd dynamic. Crane's instrument of choice, the Polaroid, is of course admirably up to the task. As she comments, "The quick feedback of the instant picture is in tune with this energetic style of photographing. This immediacy of result shortens the time it would take my ideas to grow visually, technically and emotionally. What takes a summer of work with Polaroid materials would take three years of picture taking and darkroom time to bring my ideas to fruition." An incredible inventory of private gestures performed in public spaces, "Private Views" offers a sun-drenched, sweat-glistening photographic experience. The effect is mesmerizing and intensely compelling, creating a palpable sensuality from image to image, an incredible document--not of a particular event or personalities--but of something less tangible: the public expression of euphoria.

Barbara Crane: Private Views

Aperture

Collection of color photographs. Limited Edition of 1500 copies. An elegant production: Oversize-volume format in wide rectangular shape. Pictorial softcovers. Foreword by Michael A. Weinstein. Essay by John B. Rohrbach. Published on the occasion of the exhibition of the same name at the Museum of Contemporary Photography, Columbia College Chicago from March 21 through June 15, 2002. Presents the photographer's beloved city from a different conceptual perspective that seems miraculously to unfold before one's eyes. "Her compositions stress the tension between the lines of the architecture and her frame. Roofs and fragments of facades seem to float in a contextless space. Conveys the disorienting qualities of urban geography" (The Chicago Reader). Barbara Crane is one of the finest American photographers of our time. Her achievement is much bigger than her reputation: Her impressive body of work deserves - and will reward - a larger mainstream audience than those of many other hyped-up and overrated photographers whose talents, if any, are much smaller than the marketing and merchandising they have received. Late in her long career, the Institute of Design-trained photographer has produced not one but two brilliant books on Chicago (the other being "Chicago Loop") that are clearly influenced by the Bauhaus School's emphasis on formal experimentation, on the intersection and ultimate melding of structures rather than their separateness and solidity. Barbara Crane also uses color both as the seductive formal element that it is as well as a way of expressing her singular "take" on a subject very close to her heart. The results are simply, breathtakingly astonishing, a refreshing antidote to the arid rigidity of the Becher School of urban landscape photography. A splendid achievement. 18 color plates. One of the finest American photographers of the 20th century.

Urban anomalies: Chicago

distributed by Center for American Places

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