A. D. Coleman
A. D. Coleman: A Prolific Photographer and Critic
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Full Name and Common Aliases
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Arthur David Coleman, commonly known as A.D. Coleman, was an American photographer and critic.
Birth and Death Dates
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Born in 1942, Coleman passed away on April 14, 2017.
Nationality and Profession(s)
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A native of the United States, Coleman's profession spanned multiple fields: photography, writing, and education. He was a renowned photographer, photo editor, critic, teacher, and writer.
Early Life and Background
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Coleman grew up in New York City during the 1940s and 1950s, an era marked by post-war reconstruction and social change. His early life laid the groundwork for his future as a photographer and critic. As he navigated the city's vibrant artistic landscape, Coleman developed a keen eye for photography.
Major Accomplishments
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Throughout his career, Coleman made significant contributions to the world of photography:
Photography Editor: Coleman worked at _The New York Times_ from 1969 until 1977. During this period, he played a crucial role in shaping the newspaper's photojournalism.
Photo Critic and Essayist: As a prominent critic, Coleman wrote for various publications, including _The New York Times_, _Aperture_, and _Camera_. His essays and reviews offered insightful perspectives on photography, photographers, and their work.
Teacher and Educator: Coleman taught at several institutions, including the International Center of Photography (ICP) in New York City. He shared his expertise with aspiring photographers and photojournalists.Notable Works or Actions
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Coleman's contributions to photography were multifaceted:
Critique and Analysis: As a critic, Coleman evaluated and contextualized photographs within the broader cultural landscape.
Photography Education: Through teaching and writing, he helped shape the next generation of photographers.
Influence on Contemporary Photography: Coleman's work as a photo editor and critic helped establish photography as a respected medium.
Impact and Legacy
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A.D. Coleman's impact on the world of photography is profound:
Shaping the Photography Industry: His contributions to _The New York Times_ helped set new standards for photojournalism.
Advocating for Photographic Integrity: As a critic, Coleman championed photographers' rights and advocated for accurate representation in publications.
Educating Future Generations: Through his teaching and writing, Coleman ensured the continued growth of photography as an art form.Why They Are Widely Quoted or Remembered
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A.D. Coleman is remembered for his:
Visionary Perspective on Photography: His insightful critiques and essays continue to inspire photographers and scholars today.
* Commitment to Photographic Integrity: Coleman's advocacy for photographers' rights has left a lasting impact on the industry.
Coleman's legacy serves as a testament to the power of photography as an art form, social document, and means of communication.
Quotes by A. D. Coleman
We’ve spent now about 150 years trying to convince ourselves that photographs are reliable evidence, some unimpeachable slice of the real world. That was a myth from the very beginning.
What a photograph shows us is how a particular thing could be seen, or could be made to look – at a specific moment, in a specific context, by a specific photographer employing specific tools.
... the battle for the acceptance of photography as Art was not only counter-productive but counter-revolutionary. The most important photography is most emphatically not Art.
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
The past is always with us, in the form of our photographs, which we feel as we might a rosary, wearing them smooth with the fingering of our eyes.
It is no coincidence that one cardinal rule in brainwashing is to remove from the victim all photographs of himself and people he has known.
We've spent now about 150 years trying to convince ourselves that photographs are reliable evidence, some unimpeachable slice of the real world. That was a myth from the very beginning.
Photographs are of course about their makers, and are to be read for what they disclose in that regard no less than for what they reveal of the world as their makers comprehend, invent, and describe it.
Any photographer worth his/her salt - that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent - can make virtually anything look good. Which means, of course, that she or he can make virtually anything look bad - or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image.