In 2007 The Met announced the gift and promised gift of the complete archive of Diane Arbus, including hundreds of the artist's early photographs negatives and contact prints of six thousand and five hundred rolls of film and her photography collection, library, and personal papers. In 2001, the department acquired The Met's first work of video art-Ann Hamilton's a,b,c (1994/99)-and has since gone on to represent significant developments in film, video, and new media by artists including Darren Almond, Omer Fast, David Hammons, Jonathan Horowitz, and Sharon Lockhart. The Museum's collection is especially strong in representing the varied paths of photography since 1960: its role in conceptual art, earth art, and body art, as seen in works by Douglas Huebler, Robert Smithson, and Charles Ray the "Dusseldorf School," featuring works by Bernd and Hilla Becher and their students Thomas Struth, Thomas Ruff, and Andreas Gursky the "Pictures Generation," including Cindy Sherman and Richard Prince and other important contemporary artists who use photography, such as Rineke Dijkstra, Adam Fuss, Felix Gonzalez-Torres, Rodney Graham, Sigmar Polke, and Jeff Wall. The postwar years are represented by important American photographers such as Harry Callahan, Robert Frank, William Klein, and Garry Winogrand. The Gilman Collection consists of more than eight thousand and five hundred photographs, including exceptionally rich holdings in early French, British, and American photography, as well as masterpieces from the turn-of-the-century and modernist periods. The Met's representation of the first century of photography was further enriched by the 2005 acquisition of the Gilman Paper Company Collection, widely regarded as the world's finest collection of photographs in private hands. The Rubel Collection, acquired in 1997, features superb examples of British photography from the first three decades of the medium's history. Waddell, represents avant-garde European and American photography between the World Wars, including major works by Berenice Abbott, Brassaï, Walker Evans, André Kertész, László Moholy-Nagy, and Man Ray. Waddell and donated to the Museum in 1987 as a gift of the Ford Motor Company and Mr. The Ford Motor Company Collection, five hundred works collected by John C. The Museum's photography holdings include several other important collections. Holland Day, Adolph de Meyer, Gertrude Käsebier, Paul Strand, and Clarence White. Also featured in the Stieglitz Collection are F. The Stieglitz Collection is especially rich in large master prints by Edward Steichen of special note are three large, unique prints of the Flatiron building, each a slightly different hue, evoking a different moment of twilight in the city. In addition to superb examples of his own photography, his gifts comprise the best collection anywhere of works by the Photo-Secession, the circle of Pictorialist photographers shown at his influential gallery. You can check out this video to hear the right (and just about every wrong) way to say bokeh.The Met began collecting photographs in 1928, when Alfred Stieglitz, a passionate advocate of photography as a fine art, made the first of several important gifts to the Museum. There's equal stress on both syllables-it's not "boke" (rhyming with poke) or "boh-kee." "Boh-kay" is pretty close as, like every language, Japanese also has regional variations. In 1997, the "h" was added by Photo Techniques editor, Mike Johnston, so the written form more closely resembled the pronunciation. Pronounced "boh-keh," this term comes from the Japanese word "boke," which means something close to blur or haze, although it’s a lot more nuanced than that. It’s most noticeable in how specular highlights and point lights are rendered, but it’s present everywhere. It refers to the shape and quality of the out-of-focus area in a photo. Bokeh is a term photographers throw around a lot.
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