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Douglas Kent Hall, writer and photographer

Douglas Kent Hall (born December 12, 1938 in Vernal, Utah, died March 30, 2008 in Albuquerque, New Mexico) was a United States writer and photographer.

Contents

Biography

Hall was a fine art photographer and writer of fiction, poetry, nonfiction, essays, and screenplays. He was in high school when he first published a story, and his first published photographs were of Jimi Hendrix and Jim Morrison.

After attending Utah State University and the University of Utah, he earned his B.A. from Brigham Young University in 1960. He then attended the Iowa Writers' Workshop at the University of Iowa where he earned his Master of Fine Arts in Creative Writing in 1963. Hall taught at the University of Portland and the University of New Mexico. After teaching in Oregon he lived in London and then New York City. He moved to New Mexico in 1977 with his wife Dawn, at first living in a small village in Northern New Mexico, then moving to Albuquerque in 1994. His son Devon Hall, born in 1980, is a composer and pianist. In perfect health, Hall's unexpected passing occurred suddenly, peacefully, in his home.

He published twenty-five books, including two with Arnold Schwarzenegger. His photographs are of rock and roll superstars, rodeo, cowboys, prison, flamenco, bodybuilders, the U.S.-Mexico border, the American West, New Mexico, New York City, Japan, Brazil, Mexico, Great Britain, Greece, Russia, Native Americans, writers, and artists. Hall's artistic output included collaborations with Larry Bell, Bruce Nauman, Terry Allen, and his son Devon Hall.

At the time of his death, solo exhibitions of his photographs hung concurrently at the Harwood Museum of Art, Taos, New Mexico; the Riva Yares Gallery, Santa Fe, New Mexico; and the Roswell Museum and Art Center, Roswell, New Mexico. His book In New Mexico Light had just been selected for the Hoffer Book Award.

Awards

  • Hoffer Award for Art books, for In New Mexico Light, 2008
  • Finalist, New Mexico Book Awards, art books, for In New Mexico Light, 2008
  • Medici Gold Medal Career Award, Florence Biennale Internazionale Dell'Arte Contemporanea, 2005
  • New Mexico Governor's Award for Excellence in the Arts, 2005
  • Distinguished Alumnus of Uintah High School, Vernal, Utah, 1999
  • Honorary Chair, College of Notre Dame's Sister Catherine Julie Cunningham visiting scholar award. Fine Arts Department, College of Notre Dame, San Francisco, Spring 1997
  • Academy Award, Best Documentary Feature, Great American Cowboy, 1974
  • J. Marinus Jensen Short Story Contest, Brigham Young University, 1959

Writing

Hall's first writing was fiction. He has been called the "iconic storyteller of the American experience" . . . "this author is a veritable shaman of contemporary culture."[1] His first novel, On the Way to the Sky, is set in Utah and explores themes that surface frequently in his work: small-town life, surviving a broken home, Mormonism, hunting and fishing, music, and rodeo. Writer Mag Dimond asked Hall in 1997 which of his books were his favorite and why. "His first choice was On the Way to the Sky, the book he wrote when he was about twenty-one, a steely, sweet autobiographical novel he didn't publish until almost six years later. About this book he simply says, 'I was able to define my past, get it behind me where it belongs.' . . . This stunning little novel is rich in characters suggested by real people . . . written in startlingly original language."[2] In Rock and Roll Retreat Blues, his second novel, the humor is sardonic; it is a commentary on the world of rock and roll and the culture it creates and drives. The third novel, The Master of Oakwindsor, set in 1908 England, explores the clash between rural England and a new and darker industrial Britain and between two families. Hall's numerous books of nonfiction, which often include his photographs, treat various subjects, including rock and roll, rodeo, cowboy life, bodybuilding, prison, the historic churches of the Southwest, and the border between the United States and Mexico. "The Border, about desperate lives lived on both sides of the United States–Mexico border, is at once a compelling piece of work, a lucid and personal rendering of Hall's own border experiences both in words and 'pictures.'"[3]

Published books

  • Rock: A World Bold As Love (1970) SBN 402-12591-6
  • The Superstars: In Their Own Words (1970) ISBN 0-8256-6020-3
  • On the Way to the Sky (1972) ISBN 0-8415-0125-4
  • Let 'Er Buck! (1973) ISBN 0-8415-0274-9
  • Rock and Roll Retreat Blues (1974) ISBN 0-380-00159-4
  • Rodeo (1975) ISBN 0-345-24877-5-795
  • The Master of Oakwindsor (1976) ISBN 0-690-01171-7
  • Ski with Billy Kidd (1976) ISBN 0-8092-8310-7
  • Van People: The Great American Rainbow Boogie (1977) ISBN 0-690-01418-X, ISBN 0-690-01452-X (pbk.)
  • Arnold: The Education of a Body Builder (with Arnold Schwarzenegger) (1977) ISBN 0-671-22879-X
  • Bodyshaping for Women (with Arnold Schwarzenegger) (1979) ISBN 0-671-24301-2
  • Bodymagic (with Lisa Lyon) (1981) ISBN 0-533-01296-7
  • The Incredible Lou Ferrigno (1982) ISBN 0-671-42863-2
  • Working Cowboys (1984) ISBN 0-03-070418-9
  • The Border: Life on the Line (1988) ISBN 0-89659-685-0
  • In Prison (1988) ISBN 0-8050-0592-7
  • Passing Through: Western Meditations of Douglas Kent Hall (1989) ISBN 0-87358-485-6
  • Frontier Spirit: Churches of the Southwest (1990) ISBN 0-89659-914-0
  • New Mexico: Voices in an Ancient Landscape (1995) ISBN 0-8050-1233-8
  • Prison Tattoos (1997) ISBN 0-312-15195-0, ISBN 978-0-312-15195-9
  • Albuquerque 2000 (2000)
  • The Thread of New Mexico (2001)
  • Visionary (2002) ISBN 0-938631-46-2
  • Noches Perdidas, 2003
  • In New Mexico Light (2007) ISBN 978-0-89013-501-3
  • City Light: Douglas Kent Hall's New York, forthcoming

Filmography

  • The Great American Cowboy, screenplay and narration
  • Wheels of Fire, director and screenplay
  • Arnold and Maria, interviewee
  • Arnold Schwarzenegger: Hollywood Hero, interviewee
  • Sirens, photographer
  • Fool for Love, photographer
  • Roosters, photographer

Photographs

Many of Hall's images have become known as icons of Americana, such as Mesquite, Texas 1973, and Jim Morrison, Portland. Princeton University curator Alfred Bush writes: "Unlike the majority of the photographic explorers, who are continually clicking away at the American West, Douglas Hall's camera is firmly rooted in the region's very center."[4] Hall's photographs are mainly of people; he finds his subjects worldwide, from New York to the Southwest, from Russia to Japan, Brazil to Mexico, as well as in places like Morocco and the Outer Hebrides Islands. "With avid observation of humanity, Hall's photographs represent the inner truth and spirit that resides in peoples from various socio-cultural constructs throughout the Americas. Whether he is focused on the confined dwelling within the prison system, or indigenous elders from across the United States, Hall elucidates American iconography by way of the camera and pen."[5] He continued to work in film and branched into digital imagery, shooting both color and black-and-white. Hall crossed the digital photography boundary by moving into fine art color photographs printed on handmade watercolor paper. Mark Strand noted in Vogue Magazine, "There is nothing provisional about Hall's enterprise; it is both broad and, in individual photographs, scrupulously resolved. His pictures have an edge, a magical certainty about them that not only justifies but also honors their subjects, no matter how odd or how exploited."[6] Writing about Hall's 2007 book In New Mexico Light, Dave Gagon notes, "A filmmaker and poet, as well as a photographer, Hall has photographed and written about New Mexico's unique mix of places and people, a broad representation including ancient sites and Spanish churches, Indian ceremonial dances, portraits of artists and writers, viejos and vagabonds. He invigorates his 182 black and white photographs with descriptive prose—something most visual artists have difficulty achieving."[7]In his Foreword to In New Mexico Light actor/playwright Sam Shepard writes, "The photographs in this book are naked impressions of the mind and spirit just waiting for somebody as lucky and gifted as Douglas Kent Hall to hunt them down and seize them with a little black box."[8]

Public collections

  • Atlantic-Richfield, Dallas, TX, and Los Angeles, CA
  • Center for Southwest Research, UNM, Albuquerque, NM
  • Chase Manhattan Bank, New York, NY
  • The Doan Collection, Fort Dodge, IA
  • Fannin National Bank, Houston, TX
  • Wells Fargo Bank, Los Angeles, CA
  • Steve Gold, Inc., New York, NY
  • Ovenwest Corporation, Albuquerque, NM
  • The Albuquerque Museum, Albuquerque, NM
  • Sheldon Memorial Museum, Lincoln, NE
  • Western Americana Collection, Princeton University, Princeton, NJ
  • Millicent Rogers Museum, Taos, NM
  • Bibliothèque Nationale, Paris, France
  • Blue Cross-Blue Shield, Albuquerque, NM
  • Museum of Fine Arts, Santa Fe, NM
  • El Paso Museum of Archaeology, TX
  • Roswell Museum and Art Center, Roswell NM
  • New Mexico State University Museum, Las Cruces, NM
  • Blue Cross-Blue Shield, Philadelphia, PA
  • Mid-Western State University, Wichita Falls, TX
  • Brooklyn Museum, Brooklyn, NY
  • Marina Pacific Hotel, Venice Beach, CA, two collections
  • Mobil Oil Corporation, Dallas, TX
  • Rose Art Museum, Brandeis University, Waltham, MA
  • City of Phoenix, AZ
  • State of New Mexico, Capitol Building, Santa Fe, NM
  • Museum of the American West, Autry National Center, Los Angeles, CA
  • McAllen International Museum, McAllen, TX
  • The Martin Foundation, San Francisco, CA
  • Star Canyon, Las Vegas, NV
  • Albuquerque International Sunport Collection, NM
  • Princess Cruise Line, CA
  • University of New Mexico, Los Alamos, NM
  • University of New Mexico Art Museum, Albuquerque, NM
  • Regency Hotel, Hong Kong, China
  • University of California at Los Angeles, Arts Library, CA
  • Harwood Museum of Art, Taos, NM

Early years

Hall was born in Vernal, Utah, to Phyllis Hiatt and Charles William "Peck" Hall; he was the eldest of two children. His brother, Wayne Hall, was born eighteen months after Douglas. Although Vernal is a Mormon community, the young Hall family did not practice the faith. While Peck Hall was serving in the Navy during World War II, his marriage to Phyllis broke up and the two small boys started living with their maternal grandmother, Beulah Perry. Hall's elementary and high school years were spent with his grandparents on rural farms in the Vernal area. He raised sheep and cows that he exhibited and sold at County Fairs. During high school Hall was a rodeo contestant.[9]

College years

At the age of seventeen, Hall entered Utah State University, Logan, to study creative writing. He was already a published author. He transferred to the University of Utah in Salt Lake City and then to Brigham Young University where he earned his bachelor's degree in English. At BYU Hall started what would become lifelong friendships with Alfred Bush and David Stires. The three enthusiastic writers lived and breathed literature and other creative arts. Bush became the Curator of Western Americana at the Firestone Library, Princeton University, and Stires became a publishing executive. Highlights of Hall's undergraduate years included study of the creative process with Brewster Ghislen, author of the landmark book The Creative Process. Between his junior and senior years at BYU, Hall met and married Claire Nicholson, of Boise, Idaho. The two remained married for ten years.[10] After earning his undergraduate degree at BYU, Hall was accepted into the prestigious Writer's Workshop at the University of Iowa, Iowa City. For three years he worked as special assistant to Paul Engle, director of the program. While at the Writer's Workshop Hall befriended, among others, Mark Strand, Galway Kinnell, W. S. Merwin, and Adrian Mitchell. While at Iowa Hall wrote and published extensively.[11]

Early career

Hall's master of fine arts degree in Creative Writing from the University of Iowa's Writer's Workshop in 1963 led to a position at the University of Portland teaching Creative Writing and Literature. Hall and Claire moved to Portland, Oregon, in 1964. During his time at the University of Portland, Hall brought many well-known poets to the school for readings, such as Allen Ginsburg, W. H. Auden, Anais Nin, Gary Snyder, Robert Duncan, William Stafford, and Robert Bly. At this time a friend lent Hall a camera and he taught himself photography, seriously studying photographic technique and style. He photographed poets and the group of artists he befriended in Portland, including Lee Kelly, Duane Zaloudek, Carl Morris, Hilda Morris, Doug Lynch, among others.[12]

Hall's method of teaching creative writing included taking his students on car trips, overseeing student film productions, and having students grade themselves. His increasing interest in photography led to freelance photographic work. He photographed Jimi Hendrix and Jim Morrison of the Doors for Sunn Music, makers of amplifiers. He received various other commercial and magazine photographic assignments. Hall realized he could dedicate himself to his writing and photography and left the world of academia.[13]

In 1967 Hall traveled throughout England, France, Italy, Spain, and Portugal with his cameras. He shot his first images in the Dark Landscapes series. In 1968 Hall moved from Portland to London and continued work in advertising and on his series of artist and writer portraits and his art photography. He began formulating the idea of Passing, which dominated most of the philosophy behind his personal work.[14]

Career as an independent writer and photographer

Hall and his wife moved from London to New York City in 1968. He continued to photograph rock and roll stars, which resulted in the publication of Rock: A World Bold as Love, released later in paperback as The Superstars: In Their Own Words. In New York, Hall continued writing. He published his first novel, On the Way to the Sky, in 1970. This book fictionalized Hall's childhood years in Vernal, Utah, and his renegade Hall relatives.[15]

While driving across the country with his college friend Alfred Bush in 1969 to photograph American Indians, returning to the West of his youth, Hall shot his first Passing series. In 1971 he developed the first negatives for Passing II. The idea of time and the photograph continued to deepen and became the guiding influence behind his total photographic output.[16]

Hall's marriage to Claire dissolved in 1970. He returned briefly to Portland, Oregon, and worked doing commercial photography jobs and writing. He met his future second wife, Dawn Claire Davidson, a fashion coordinator, in May of 1971. The following December the two moved to New York and set up residence and studio in a loft on 21st Street and 7th Avenue. As they were moving in, comedian and filmmaker Christopher Guest was moving out. Of note, when Hall and Dawn moved out of the loft in 1976, the poet Mark Strand moved in.[17]

In the 1970s Hall lived in New York but spent much time traveling. His work included writing a book about rodeo titled Let Er Buck; writing and codirecting a feature documentary film about rodeo titled The Great American Cowboy, which won an Academy Award for Best Feature-Length Documentary; and publishing a photography book titled Rodeo, which was followed in the early 1980s by another book about cowboys, this one about ranch cowboys, titled Working Cowboys. Mark Strand writes, "These cowboys, as opposed to urban cowboys, drugstore cowboys, rodeo cowboy, or movie cowboys, stay on horseback all day long working cattle. And when they stand in front of the camera—in Hall's best photos, they are standing, looking straight into the camera lens—their detached way of life shows."[18] The 1970s also saw the publication of Hall's second novel, Rock and Roll Retreat Blues. Significantly, in 1974, Hall exhibited his photographs for the first time, at the Whitney Museum of American Art in New York. The exhibition and accompanying catalog, Photography in America, is where the public first viewed the now iconic photograph Mesquite, Texas.[19]

During the latter half of the 1970s and the early 1980s, Hall worked on books collaboratively for the first time in his career. In 1975 Hall's literary agent, Bob Dattila, asked him if he would be interested in working on a project with the bodybuilder Arnold Schwarzenegger. Hall and Schwarzenegger published two books, Arnold: The Education of a Bodybuilder and Arnold's Bodyshaping for Women. Arnold: The Education of a Bodybuilder topped the New York Times Best Seller List for twelve weeks in 1978.[20] In 2002, Sports Illustrated included the Hall/Schwarzenegger collaboration in their "Top 100 Sports Books of All Time" list.[21] During the writing and photographing of Bodyshaping for Women, Hall started an acquaintance with the female bodybuilder Lisa Lyon, which led to the publication of their Lisa Lyon's BodyMagic. The Incredible Lou Ferrigno, with bodybuilder Lou Ferrigno, rounded out Hall's collaborative publishing ventures with bodybuilders.[22]

In 1977 Hall and his partner Dawn moved from New York to the small village of Alcalde in northern New Mexico. After living together for more than six years, they were married in Santa Fe on July 23, 1977. In 1980 their son Devon Douglas was born.

Hall traveled throughout the Southwest and along the Mexico-U.S. border in the 1980s gathering material for two photographic books. The Border: Life on the Line introduced Hall to the varied types of people who live and work on both sides of the border. The book includes many color photographs. "In an ideal marriage of uncompromising photography and compelling prose, Hall transports us to 2,000 miles of borderland, revealing it in all its contradictory dimensions."[23] Frontier Spirit: Early Churches of the Southwest also includes many color images. "Photographer-author Douglas Kent Hall takes us to the most celebrated churches as well as to the most obscure, including hauntingly evocative ruins in remote parts of New Mexico."[24] Known primarily for his black-and-white work, these two books highlight the diversity of Hall's oeuvre.

Most well known for his silver prints, in 1992 Hall began printing with platinum. His classic western images of cowboys and Matachines comprise the suite of prints. Also in the early 1990s, Hall traveled to St. Petersburg, Russia to document the Hermitage Museum's art school for children. He photographed in the student's homes and at the museum. During this period Hall also traveled to Minas Gerais, Brazil to document the region's gold and gemstone miners.[25]

In the mid-1990s Hall began producing one-of-a-kind photographic artworks. His Zen Ghost Horses series are images of Peruvian Paso and Clydesdale horses exposed onto hand-made paper that was brushed with emulsion. Hall embellished the works with gold leaf, Chinese and Japanese calligraphy, and acrylics.[26] Taking color images shot along the Mexico-U.S. border, Hall created a suite of artes de caja (art boxes). These pieces incorporate color photograph, poems, milagros, objects picked up while traveling the border, and pages from Mexican graphic novelettes into and on hand-painted wooden wine boxes. The Albuquerque Museum showed fifteen of the border boxes for four months as part of a tribute exhibition for Hall in the summer of 2008.[27]

The Halls sold their Alcalde home and studio in 2001 and moved to Albuquerque, where they built a studio and wet and dry darkrooms onto an existing round house. Hall's New Mexico cohort included artists Larry Bell, Allen, Bruce Nauman, Susan Rothenberg, Tom Palmore, Ken Price, Bill Barrett, Paul Pletka, Charles Strong, Ron Cooper, Gus Foster, and others. After being awarded the New Mexico Governor's Award for Excellence in the Arts in 2005, the Museum of New Mexico Press published Hall's In New Mexico Light, a compilation of his most enduring, compelling images taken over a forty-year time span.[28]

Writer and photographer Hall was not only a novelist, photographer, writer of nonfiction, and film script author, he was also a poet. In 2002 his first collection of poems was published in Visionary. The book also contains an extended automemoir/poem.

Transition to digital photography

Hall started out with a 35mm camera, added a 2 1/4 square format camera, and kept working with those two formats using Nikons, Leicas, and Hasselblads. In the mid-1990s he added digital cameras to his arsenal. In a Rangefinder magazine article, Hall said to author/photographer Paul Slaughter: "I am using a Nikon D70s digital SLR and I always carry a Nikon point-and-shoot that fits into my pocket. It does interesting things to the color (which I like). I also use an Olympus C-5050 digital camera that has a wonderful f/1.8 lens. My new series, Travel, is all digital color and I am fascinated by the images because they are different from anything I've done before. The creative part is the same, the tools are the tools—the cameras."[29] Hall had five external hard drives full of images and did his best to keep them organized. He said to Slaughter, "I am a bit haphazard in my approach to work. I am more intuitive than anything else. That is part of my imagery evolvement."[30] Hall used the Photoshop and LightRoom software programs for after-capture processing and did his own printing, both digital and traditional. He had four Epson inkjet printers. For digital printing he favored watercolor papers as they render a softer image. He told Slaughter: "I am often upset that I can no longer readily find traditional printing supplies. . . . That concerns me more than thinking about where photography is going. I look at the photographs being done and feel that the new digital work is less convincing than film work. But I feel certain that photographers such as Edward Weston would have brought a special look to digital. I hope I am doing the same. In the end, with either digital or film, I choose what pleases my eye. I think the world of professional photography is much like it has always been, full of challenge."[31]

Martial arts

Hall began studying and practicing Kaju Kenpo karate in Santa Fe in 1986, receiving his Nidan black belt in 1998. He taught karate in Española, New Mexico until 2002. While continuing to practice karate, Hall also incorporated Tai Chi into his daily spiritual practice. When photographer Joyce Tenneson selected Hall in 2004 for inclusion in her book Amazing Men, she photographed him working with martial arts weapons.[32]

References

  1. ^ ImagingInfo, "Forty Images—Forty Years: A Retrospective," posted online October 15, 2007, updated July 8, 2008, at http//www.imaginginfo.com.
  2. ^ Mag Dimond, Douglas Kent Hall—A Borderless Vision (Belmont, CA: Wiegand Gallery of the College of Notre Dam, 1997), 10.
  3. ^ Mag Dimond, Douglas Kent Hall—A Borderless Vision (Belmont, CA: Wiegand Gallery of the College of Notre Dame, 1997), 12-13.
  4. ^ Alfred Bush, Introduction, in Douglas Kent Hall, Passing Through (Flagstaff, AZ: Northland, 1989).
  5. ^ ImagingInfo, "Forty Images—Forty Years: A Retrospective," posted online October 15, 2007, updated July 8, 2008, at http//www.imaginginfo.com.
  6. ^ Mark Strand, Vogue Magazine, "People Are Talking About," March 1985.
  7. ^ Dave Gagon, Deseret Morning News, January 13, 2008.
  8. ^ Sam Shepard, Foreword, In New Mexico Light, photographs by Douglas Kent Hall (Santa Fe: Museum of New Mexico Press, 2007), 12.
  9. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  10. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  11. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  12. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  13. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  14. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  15. ^ Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  16. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 149.
  17. ^ Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  18. ^ Mark Strand, "Sure Enough Cowboys," in Douglas Kent Hall, Visionary (Santa Fe: Pennywhistle Press, 2002), 150.
  19. ^ Robert Doty, ed., Photography in America (New York: The Whitney Museum of American Art, 1974), 246.
  20. ^ Hawes Publications, at http://www.hawes.com/1978/1978.htm.
  21. ^ Sports Illustrated, December 16, 2002, at http://sportsillustrated.cnn.com/si_online/features/2002/top_sports_books/1/
  22. ^ Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  23. ^ Douglas Kent Hall, The Border: Life on the Line (New York: Abbeville Press, 1988), flap copy.
  24. ^ Douglas Kent Hall, Frontier Spirit: Early Churches of the Southwest (New York: Abbeville Press, 1990), flap copy.
  25. ^ Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  26. ^ Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  27. ^ At www.cabq.gov/museum.
  28. ^ Douglas Kent Hall, In New Mexico Light (Santa Fe: Museum of New Mexico Press, 2007).
  29. ^ Paul Slaughter, "Douglas Kent Hall, 21st Century Renaissance Artist," Rangefinder (March 2009): 96–101.
  30. ^ Paul Slaughter, "Douglas Kent Hall, 21st Century Renaissance Artist," Rangefinder (March 2009): 96–101.
  31. ^ Paul Slaughter, "Douglas Kent Hall, 21st Century Renaissance Artist," Rangefinder (March 2009): 96–101.
  32. ^ Joyce Tenneson, Amazing Men (New York: Bulfinch, 2004), 50–51.

Notable photographs

  • Mesquite, Texas
  • Jimi Hendrix Seattle
  • Taos Man
  • Bareback Rider
  • Tina Turner
  • Andy Warhol at the Factory
  • Arnold Schwarzenegger
  • Horse, La Villita
  • Sandia
  • Jim Morrison Portland
  • Calf Roping, Pendleton
  • Picuris Man
  • Bell Spur
  • Paris, 1980

Notable personalities photographed

Quotations

The camera, the split-second blink of the shutter, taught me that time does not pass. It is we who pass. We pass through time and we waste only ourselves. Time is indifferent to us and to our folly. Time remains the one certainty we have, the fixed and constant factor-more concrete than life, more permanent than space. --Douglas Kent Hall, 3 / Photographers (Roswell: Roswell Museum and Art Center, 1986), p. 3

New Mexico makes its way into my negatives, insinuating its fabulous light into the print leaving its tindery smell mysteriously in the air . . .

Light stands as the single most important constituent that allows my photographs to be.

History, or the ghost of history, frames each image yet leaves it vulnerable, prone to corruption, reversal, and revision. The photograph, as such, is a kind of grail. Viewers can choose to believe in it for what it claims to be, some truth or emblem that prevails outside of the reality of the image on the paper; they can give it a new reality; or they can reject it out of hand. The image, existing without prejudice, appears independent of bias. The photographer or the viewer is free to accept the image or dispute its authenticity. The camera expresses no opinion; the camera simply produced a "fly on the wall" documentation of who was there the instant the shutter snapped or of what transpired. The camera takes responsibility but offers no liability.

Artist statement

Art is my beginning and my end.
It is everything I do—my morning, my noon, and my night.
Art is my confessor and my salvation.
It is each photograph I shoot, each novel, poem, and film I write.
Art defines what the photograph is, just as the photograph defines who I am; in the same way the words I craft tell the secrets of my heart.
Art is my Bible, my Constitution.
Art is my God and my devil.
Art is everything I am, all I want to be.
It will be my epitaph.
—Douglas Kent Hall

Other books, catalogs, and portfolios about Hall or with contribution by Hall

  • Photography in America, New York, Random House, 1974
  • Boundary 2: A Journal of Postmodern Literature, Binghamton, NY, 1982
  • The Cowboy, New York, Stewart, Tabori, & Chang, 1983
  • Photoflexion, New York, St. Martin's Press, 1984
  • Third Western States Exhibition, New York, The Brooklyn Museum; Santa Fe, Western States Arts Foundation, 1986
  • 3 / Photographers: Douglas Kent Hall, Bruce Berman, and Roger Manley, Roswell Museum and Art Center, NM, 1986
  • Images of Spirit and Vision, Santa Fe, NM, Museum of New Mexico Press, 1987
  • Die Gleichzeitigkeit des Anderen, Stuttgart, Germany, Verlag Gerd Hatje, 1987
  • Way Out West, Tokyo, Japan, Treville Publishing Co., 1990
  • Electric Gypsy, London, England, Heinemann and Heinemann, 1990
  • Zero Mass, The Art of Eric Orr, Stockholm, Sweden, Propexus, 1990
  • Esquire/Japan, Working Cowboys and Artist Profile, Tokyo, Japan, July 1991
  • Southwest Profile, Portfolio of Fourteen Photographs; Santa Fe, NM, August, September, October 1991
  • Southwest Profile, Portfolio of Nine Photographs, Santa Fe, NM, November, December, January 1991/1992
  • The Jimi Hendrix Concerts, Bella Godiva Music, Inc., 1991
  • Radio One, Hendrix, Bella Godiva Music, Inc., 1991
  • Imago, vols. 3–5, Japan, Portfolio, 1992
  • Chaco Past, Boxed Portfolio, 1992
  • Chaco Future, Boxed Portfolio, 1992
  • Photographer's Forum, Exclusive magazine interview and portfolio of eight photographs, November 1992
  • a simple story (Juárez), Terry Allen, Ohio State University, Wexner Center, 1992
  • The Photograph and the American Indian, by Alfred L. Bush and Lee Clark Mitchell, Princeton University Press, 1994
  • Understanding Art, Fourth Edition, by Lois Fichner-Rathus, Prentice Hall, 1995
  • It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art, by David S. Rubin, Munich, Prestel, 1995
  • The World Of Jimi Hendrix, by Monika Dannemann, St. Martin's Press, New York
  • Jimi Hendrix: The Ultimate Experience, by Adrian Boot and Chris Salewicz, London, Boxtree, 1995
  • Philadelphia Photo Review, portfolio, Prison Tattoos, the Stations of the Body, volume 19, number 4, Fall 1996
  • Westerns, by Lee Clark Mitchell, University of Chicago Press, 1996
  • A Borderless Vision: A Douglas Kent Hall Retrospective, Catalog for Solo Exhibition, Wiegand Gallery, Belmont, CA, 1997
  • Larry Bell: Zones of Experience, two essays, Albuquerque, The Albuquerque Museum, 1997
  • Master Breasts, Aperture, New York, NY, 1998
  • 23. International Biennial of Graphic Arts/Mednarodni Graficni Bienale, Ljubljana, Slovenia, 1999
  • Tamarind: Forty Years, by Marge Devon, University of New Mexico Press, 2000
  • Alvin Lee & Ten Years After, by Herb Staehr, Hingham, MA, Free Street Press 2001
  • New Mexico Magazine, Master's Showcase, July, 2001
  • Chokecherries 2001 (Cover photo), SOMOS, Taos, NM, 2002
  • Magnifico: Art of Albuquerque: A World of Paint and Polish, catalog essay, August 2002
  • Tony Price Atomic Artist, catalog essay, The Museum of Fine Arts, Santa Fe, NM, "Dancing to the Music: Tony Price in Retrospect," November 2002
  • The Book of War, boxed portfolio of photographs, DVD of poetry read by DKH and music composed by Devon Hall, collaboration with Devon Hall, composer, 2002
  • The Social Lens, University Art Museum, Albuquerque, NM, July 2003
  • Just You Just Me: The Art of Lily Fenichel, catalog essay, Harwood Museum of Art, Taos, NM, 2004
  • Amazing Men, photographs by Joyce Tenneson, Bulfinch, New York, 2004
  • Classic Hendrix, Genesis Publications, Surrey, England, 2004
  • New Mexico 24/7, DK Publishing, New York, 2004
  • Dugout, by Terry Allen, Austin, University of Texas Press, 2005
  • Carl*s Cars Magazine, Photographic Portfolio and Interview, "Van People." Issue 12, Summer 2005, Oslo, Norway
  • Room Full of Mirrors: A Biography of Jimi Hendrix, by Charles Cross, Hyperion, 2005
  • Carl*s Cars Magazine, Cover and Photographic Portfolio, "Passing." Issue 14, Winter 2005, Oslo, Norway
  • Biennale Internazionale Dell'arte Contemporanea, Quinta Edizione, Florence Biennale, Italy, 2005
  • Hope: Preserving Tibetan Culture, Dalai Lama Benefit, CoolGreySeven/Dalai Lama Norbulinka Institute, 2006
  • Jimi Hendrix: An Illustrated Experience, Janie L. Hendrix and John McDermott, New York and London, Atria Books, 2007
  • Green, Inaugural Exhibition, essay by Sharyn Udall, 516 Arts, Albuquerque, NM, 2007
  • El Palacio, excerpt from In New Mexico Light, 6 pages, Fall 2007
  • Iconic America, Tommy Hilfiger with George Lois, New York, Rizzoli/Universe, November 2007
  • Insights: The Portraiture Of Charles R. Rushton, Nabee-Gerrer Museum of Art, Norman Oklahoma, 2008
  • Titans: Muhammad Ali and Arnold Schwarzenegger, photographs by Al Satterwhite, essay contributions by Douglas Kent Hall, Dalton Watson Fine Art Books, 2008
  • Mass: Of This World: The Art of Alan Paine Radebaugh, Radebaugh Fine Art, Albuquerque 2008
  • Photography: New Mexico, essays by Kristin Barendsen, Fresco Fine Art Publishers, 2008
  • Thirty Year Selected Retrospective, Midwestern State University Art Gallery, Wichita Falls, TX, 2008
  • Illumination: The Paintings of Georgia O'Keeffe, Agnes Pelton, Agnes Martin, and Florence Miller Pierce, Orange County Museum of Art, Newport Beach, CA, 2009
  • Rangefinder, portfolio of eight photographs, article by Paul Slaughter, March 2009

External links

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Douglas Kent Hall
Born December 12, 1938
Vernal, Utah, U.S.
Died March 30, 2008 (aged 69)
Albuquerque, New Mexico, U.S.
Occupation Writer, photographer
Language English
Nationality American
Education Brigham Young University; Iowa Writers' Workshop
Period 1955-2008
Spouse(s) Claire Nicholson (1959-1970)
Dawn Claire Davidson (1971-2008; his death)
Children Devon Hall (b. 1980)

Douglas Kent Hall (December 12, 1938 - March 30, 2008) was an American writer and photographer. Hall was a fine art photographer and writer of fiction, poetry, nonfiction, essays, and screenplays. He was in high school when he first published a story, and his first published photographs were of Jimi Hendrix and Jim Morrison.

He published twenty-five books, including two with Arnold Schwarzenegger. His photographs are of rock and roll superstars, rodeo, cowboys, prison, flamenco, bodybuilders, the U.S.-Mexico border, the American West, New Mexico, New York City, Japan, Brazil, Mexico, Great Britain, Greece, Russia, Native Americans, writers, and artists. Hall's artistic output included collaborations with Larry Bell, Bruce Nauman, Terry Allen, and his son Devon Hall.

At the time of his sudden death in 2008, solo exhibitions of his photographs hung concurrently at the Harwood Museum of Art, Taos, New Mexico; the Riva Yares Gallery, Santa Fe, New Mexico; and the Roswell Museum and Art Center, Roswell, New Mexico. His book In New Mexico Light had just been selected for the Eric Hoffer Award.

Contents

Biography

Early years

Hall was born in Vernal, Utah, to Phyllis Hiatt and Charles William "Peck" Hall; he was the elder of two children. His brother, Wayne Hall, was born eighteen months after Douglas. Although Vernal is a Mormon community, the young Hall family did not practice the faith. While Peck Hall was serving in the Navy during World War II, his marriage to Phyllis broke up and the two small boys started living with their maternal grandmother, Beulah Perry. Hall's elementary and high school years were spent with his grandparents on rural farms in the Vernal area. He raised sheep and cows that he exhibited and sold at County Fairs. During high school Hall was a rodeo contestant.[1]

College years

At the age of seventeen, Hall entered Utah State University, Logan, to study creative writing. He was already a published author. He transferred to the University of Utah in Salt Lake City and then to Brigham Young University where he earned his bachelor's degree in English in 1960. At BYU Hall started what would become lifelong friendships with Alfred Bush and David Stires. The three enthusiastic writers lived and breathed literature and other creative arts. Bush became the Curator of Western Americana at the Firestone Library, Princeton University, and Stires became a publishing executive. Highlights of Hall's undergraduate years included study of the creative process with Brewster Ghislen, author of the landmark book The Creative Process. Between his junior and senior years at BYU, Hall met and married Claire Nicholson, of Boise, Idaho. The two remained married for ten years.[1] After earning his undergraduate degree at BYU, Hall was accepted into the prestigious Writer's Workshop at the University of Iowa, Iowa City. For three years he worked as special assistant to Paul Engle, director of the program. While at the Writer's Workshop Hall befriended, among others, Mark Strand, Galway Kinnell, W. S. Merwin, and Adrian Mitchell. While at Iowa Hall wrote and published extensively.[1]

Early career

Hall's master of fine arts degree in Creative Writing from the University of Iowa's Writer's Workshop in 1963 led to a position at the University of Portland teaching Creative Writing and Literature. Hall and Claire moved to Portland, Oregon, in 1964. During his time at the University of Portland, Hall brought many well-known poets to the school for readings, such as Allen Ginsburg, W. H. Auden, Anais Nin, Gary Snyder, Robert Duncan, William Stafford, and Robert Bly. At this time a friend lent Hall a camera and he taught himself photography, seriously studying photographic technique and style. He photographed poets and the group of artists he befriended in Portland, including Lee Kelly, Duane Zaloudek, Carl Morris, Hilda Morris, Doug Lynch, among others.[1]

Hall's method of teaching creative writing included taking his students on car trips, overseeing student film productions, and having students grade themselves. His increasing interest in photography led to freelance photographic work. He photographed Jimi Hendrix and Jim Morrison of the Doors for Sunn Music, makers of amplifiers. He received various other commercial and magazine photographic assignments. Hall realized he could dedicate himself to his writing and photography and left the world of academia.[1]

In 1967 Hall traveled throughout England, France, Italy, Spain, and Portugal with his cameras. He shot his first images in the Dark Landscapes series. In 1968 Hall moved from Portland to London and continued work in advertising and on his series of artist and writer portraits and his art photography. He began formulating the idea of Passing, which dominated most of the philosophy behind his personal work.[1]

Career as an independent writer and photographer

Hall and his wife moved from London to New York City in 1968. He continued to photograph rock and roll stars, which resulted in the publication of Rock: A World Bold as Love, released later in paperback as The Superstars: In Their Own Words. In New York, Hall continued writing. He published his first novel, On the Way to the Sky, in 1970. This book fictionalized Hall's childhood years in Vernal, Utah, and his renegade Hall relatives.[2]

While driving across the country with his college friend Alfred Bush in 1969 to photograph American Indians, returning to the West of his youth, Hall shot his first Passing series. In 1971 he developed the first negatives for Passing II. The idea of time and the photograph continued to deepen and became the guiding influence behind his total photographic output.[3]

Hall's marriage to Claire dissolved in 1970. He returned briefly to Portland, Oregon, and worked doing commercial photography jobs and writing. He met his future second wife, Dawn Claire Davidson, a fashion coordinator, in May 1971. The following December the two moved to New York and set up residence and studio in a loft on 21st Street and 7th Avenue. As they were moving in, comedian and filmmaker Christopher Guest was moving out. Of note, when Hall and Dawn moved out of the loft in 1976, the poet Mark Strand moved in.[2]

In the 1970s Hall lived in New York but spent much time traveling. His work included writing a book about rodeo titled Let Er Buck; writing and codirecting a feature documentary film about rodeo titled The Great American Cowboy, which won an Academy Award for Best Feature-Length Documentary; and publishing a photography book titled Rodeo, which was followed in the early 1980s by another book about cowboys, this one about ranch cowboys, titled Working Cowboys. Mark Strand writes, "These cowboys, as opposed to urban cowboys, drugstore cowboys, rodeo cowboy, or movie cowboys, stay on horseback all day long working cattle. And when they stand in front of the camera—in Hall's best photos, they are standing, looking straight into the camera lens—their detached way of life shows."[4] The 1970s also saw the publication of Hall's second novel, Rock and Roll Retreat Blues. Significantly, in 1974, Hall exhibited his photographs for the first time, at the Whitney Museum of American Art in New York. The exhibition and accompanying catalog, Photography in America, is where the public first viewed the now iconic photograph Mesquite, Texas.[5]

During the latter half of the 1970s and the early 1980s, Hall worked on books collaboratively for the first time in his career. In 1975 Hall's literary agent, Bob Dattila, asked him if he would be interested in working on a project with the bodybuilder Arnold Schwarzenegger. Hall and Schwarzenegger published two books, Arnold: The Education of a Bodybuilder and Arnold's Bodyshaping for Women. Arnold: The Education of a Bodybuilder topped the New York Times Best Seller List for twelve weeks in 1978.[6] In 2002, Sports Illustrated included the Hall/Schwarzenegger collaboration in their "Top 100 Sports Books of All Time" list.[7] During the writing and photographing of Bodyshaping for Women, Hall started an acquaintance with the female bodybuilder Lisa Lyon, which led to the publication of their Lisa Lyon's BodyMagic. The Incredible Lou Ferrigno, with bodybuilder Lou Ferrigno, rounded out Hall's collaborative publishing ventures with bodybuilders.[2]

In 1977 Hall and his partner Dawn moved from New York to the small village of Alcalde in northern New Mexico. After living together for more than six years, they were married in Santa Fe on July 23, 1977. In 1980 their son Devon Douglas was born.

Hall traveled throughout the Southwest and along the Mexico-U.S. border in the 1980s gathering material for two photographic books. The Border: Life on the Line introduced Hall to the varied types of people who live and work on both sides of the border. The book includes many color photographs. "In an ideal marriage of uncompromising photography and compelling prose, Hall transports us to 2,000 miles of borderland, revealing it in all its contradictory dimensions."[8] Frontier Spirit: Early Churches of the Southwest also includes many color images. "Photographer-author Douglas Kent Hall takes us to the most celebrated churches as well as to the most obscure, including hauntingly evocative ruins in remote parts of New Mexico."[9] Known primarily for his black-and-white work, these two books highlight the diversity of Hall's oeuvre.

Most well known for his silver prints, in 1992 Hall began printing with platinum. His classic western images of cowboys and Matachines comprise the suite of prints. Also in the early 1990s, Hall traveled to St. Petersburg, Russia to document the Hermitage Museum's art school for children. He photographed in the student's homes and at the museum. During this period Hall also traveled to Minas Gerais, Brazil to document the region's gold and gemstone miners.[2]

In the mid-1990s Hall began producing one-of-a-kind photographic artworks. His Zen Ghost Horses series are images of Peruvian Paso and Clydesdale horses exposed onto hand-made paper that was brushed with emulsion. Hall embellished the works with gold leaf, Chinese and Japanese calligraphy, and acrylics.[2] Taking color images shot along the Mexico-U.S. border, Hall created a suite of artes de caja (art boxes). These pieces incorporate color photograph, poems, milagros, objects picked up while traveling the border, and pages from Mexican graphic novelettes into and on hand-painted wooden wine boxes. The Albuquerque Museum showed fifteen of the border boxes for four months as part of a tribute exhibition for Hall in the summer of 2008.[10]

The Halls sold their Alcalde home and studio in 2001 and moved to Albuquerque, where they built a studio and wet and dry darkrooms onto an existing round house. Hall's New Mexico cohort included artists Larry Bell, Terry Allen, Bruce Nauman, Susan Rothenberg, Tom Palmore, Ken Price, Bill Barrett, Paul Pletka, Charles Strong, Ron Cooper, Gus Foster, and others. After being awarded the New Mexico Governor's Award for Excellence in the Arts in 2005, the Museum of New Mexico Press published Hall's In New Mexico Light, a compilation of his most enduring, compelling images taken over a forty-year time span.[11]

Writer and photographer Hall was not only a novelist, photographer, writer of nonfiction, and film script author, he was also a poet. In 2002 his first collection of poems was published in Visionary. The book also contains an extended automemoir/poem.

Martial arts

Hall began studying and practicing Kaju Kenpo karate in Santa Fe in 1986, receiving his Nidan black belt in 1998. He taught karate in Española, New Mexico until 2002. While continuing to practice karate, Hall also incorporated Tai Chi into his daily spiritual practice. When photographer Joyce Tenneson selected Hall in 2004 for inclusion in her book Amazing Men, she photographed him working with martial arts weapons.[12]

Death

Hall died suddenly, unexpectedly, at his home in Albuquerque on March 30, 2008; the cause of death was described as "a cardiac incident." He was survived by his wife, Dawn, and son, Devon Hall, a composer and pianist.[13]

Writing

Hall's first writing was fiction. He has been called the "iconic storyteller of the American experience" . . . "this author is a veritable shaman of contemporary culture."[14] His first novel, On the Way to the Sky, is set in Utah and explores themes that surface frequently in his work: small-town life, surviving a broken home, Mormonism, hunting and fishing, music, and rodeo. Writer Mag Dimond asked Hall in 1997 which of his books were his favorite and why. "His first choice was On the Way to the Sky, the book he wrote when he was about twenty-one, a steely, sweet autobiographical novel he didn't publish until almost six years later. About this book he simply says, 'I was able to define my past, get it behind me where it belongs.' . . . This stunning little novel is rich in characters suggested by real people . . . written in startlingly original language."[15] The New York Times Book Review noted, "Mr. Hall invents distinctive family backgrounds for his three heroes and arranges them into an impressionistic chronicle."[16] In Rock and Roll Retreat Blues, his second novel, the humor is sardonic; it is a commentary on the world of rock and roll and the culture it creates and drives. According to a Publisher's Weekly review, "The book is chock-full of familiar contemporary figures—Hell's Angels, revolutionaries, people spaced out on religion or brown rice or drugs, even such exotics as the "plaster casters." Yet Hall is fresh and funny, and he makes Artie's [the protagonist's] search for his own psyche very real and very much a part of our times. (Excerpts ran in Penthouse)."[17] The third novel, The Master of Oakwindsor, set in 1908 England, explores the clash between rural England and a new and darker industrial Britain and between two families. Bestseller magazine writes, "After three successful novels and an Academy Award–winning screenplay, it is no surprise that Hall's novel brings a fresh outlook to the overworked genre of historical romance. The Master of Oakwindsor is a diverse and brilliantly colored portrait of England and Europe at the turn of the century, bristling with event and detail."[18]

Hall's numerous books of nonfiction, which include his photographs, treat various subjects, including rock and roll, rodeo, cowboy life, bodybuilding, prison, the historic churches of the Southwest, and the border between the United States and Mexico. "The Border, about desperate lives lived on both sides of the United States–Mexico border, is at once a compelling piece of work, a lucid and personal rendering of Hall's own border experiences both in words and 'pictures.'"[19] Let 'Er Buck is "a really deep look at rodeo and some rodeo people. Most of us have seen what goes on in the arena; this book mostly deals with the rest of it. . . . What [Hall] has said with his typewriter and his camera is bound to be controversial."[20] About Hall's book In New Mexico Light, Bill Richardson, governor of New Mexico, wrote: "the thoughtful text in this book [is] testimony to the work of an artist who has dedicated his life to observing the rich cultural texture of New Mexico."[21] In New Mexico Magazine, Jon Bowman writes, "Hall accompanies the images [in In New Mexico Light] with some of the most lucid, engaging essays on the photographic process you'll ever read. He's a straight-shooter all the way. There's no mention of f-stops or arcane technical knowledge, but rather some fine storytelling, mixing in roughly equal doses of the sacred and the profane."[22]

Photographs

Many of Hall's images have become known as icons of Americana, such as Mesquite, Texas 1973, and Jim Morrison, Portland. Princeton University curator Alfred Bush writes: "Unlike the majority of the photographic explorers, who are continually clicking away at the American West, Douglas Hall's camera is firmly rooted in the region's very center."[23] Hall's photographs are mainly of people; he finds his subjects worldwide, from New York to the Southwest, from Russia to Japan, Brazil to Mexico, as well as in places like Morocco and the Outer Hebrides Islands. On the occasion of the exhibition in Santa Fe of Os Brasilieros (The Brazilians), David Bell notes, "Hall, who has recently made several trips to Brazil and the Amazon, takes as his subjects not only the miners who were his first objective but families, farmers . . . and students, too. The result is a composite portrait of a people who in most cases appear to give themselves with equal abandon to the camera and to life."[24] "With avid observation of humanity, Hall's photographs represent the inner truth and spirit that resides in peoples from various socio-cultural constructs throughout the Americas. Whether he is focused on the confined dwelling within the prison system, or indigenous elders from across the United States, Hall elucidates American iconography by way of the camera and pen."[14] He continued to work in film and branched into digital imagery, shooting both color and black-and-white. Hall crossed the digital photography boundary by moving into fine art color photographs printed on handmade watercolor paper. Mark Strand noted in Vogue Magazine, "There is nothing provisional about Hall's enterprise; it is both broad and, in individual photographs, scrupulously resolved. His pictures have an edge, a magical certainty about them that not only justifies but also honors their subjects, no matter how odd or how exploited."[25] Writing about Hall's 2007 book In New Mexico Light, Dave Gagon notes, "A filmmaker and poet, as well as a photographer, Hall has photographed and written about New Mexico's unique mix of places and people, a broad representation including ancient sites and Spanish churches, Indian ceremonial dances, portraits of artists and writers, viejos and vagabonds. He invigorates his 182 black and white photographs with descriptive prose—something most visual artists have difficulty achieving."[26] In his Foreword to In New Mexico Light actor/playwright Sam Shepard writes, "The photographs in this book are naked impressions of the mind and spirit just waiting for somebody as lucky and gifted as Douglas Kent Hall to hunt them down and seize them with a little black box."[27]

Transition to digital photography

Hall started out with a 35mm camera, added a 2 1/4 square format camera, and kept working with those two formats using Nikons, Leicas, and Hasselblads. In the mid-1990s he added digital cameras to his arsenal. In a Rangefinder magazine article, Hall said to author/photographer Paul Slaughter: "I am using a Nikon D70s digital SLR and I always carry a Nikon point-and-shoot that fits into my pocket. It does interesting things to the color (which I like). I also use an Olympus C-5050 digital camera that has a wonderful f/1.8 lens. My new series, Travel, is all digital color and I am fascinated by the images because they are different from anything I've done before. The creative part is the same, the tools are the tools—the cameras."[28] Hall had five external hard drives full of images and did his best to keep them organized. He said to Slaughter, "I am a bit haphazard in my approach to work. I am more intuitive than anything else. That is part of my imagery evolvement."[29] Hall used the Photoshop and LightRoom software programs for after-capture processing and did his own printing, both digital and traditional. He had four Epson inkjet printers. For digital printing he favored watercolor papers as they render a softer image. He told Slaughter: "I am often upset that I can no longer readily find traditional printing supplies. . . . That concerns me more than thinking about where photography is going. I look at the photographs being done and feel that the new digital work is less convincing than film work. But I feel certain that photographers such as Edward Weston would have brought a special look to digital. I hope I am doing the same. In the end, with either digital or film, I choose what pleases my eye. I think the world of professional photography is much like it has always been, full of challenge."[29]

Quotations

  • The camera, the split-second blink of the shutter, taught me that time does not pass. It is we who pass. We pass through time and we waste only ourselves. Time is indifferent to us and to our folly. Time remains the one certainty we have, the fixed and constant factor-more concrete than life, more permanent than space. --Douglas Kent Hall, 3 / Photographers (Roswell: Roswell Museum and Art Center, 1986), p. 3
  • New Mexico makes its way into my negatives, insinuating its fabulous light into the print leaving its tindery smell mysteriously in the air . . .
  • Light stands as the single most important constituent that allows my photographs to be.
  • History, or the ghost of history, frames each image yet leaves it vulnerable, prone to corruption, reversal, and revision. The photograph, as such, is a kind of grail. Viewers can choose to believe in it for what it claims to be, some truth or emblem that prevails outside of the reality of the image on the paper; they can give it a new reality; or they can reject it out of hand. The image, existing without prejudice, appears independent of bias. The photographer or the viewer is free to accept the image or dispute its authenticity. The camera expresses no opinion; the camera simply produced a "fly on the wall" documentation of who was there the instant the shutter snapped or of what transpired. The camera takes responsibility but offers no liability.
Artist statement
Art is my beginning and my end.
It is everything I do—my morning, my noon, and my night.
Art is my confessor and my salvation.
It is each photograph I shoot, each novel, poem, and film I write.
Art defines what the photograph is, just as the photograph defines who I am; in the same way the words I craft tell the secrets of my heart.
Art is my Bible, my Constitution.
Art is my God and my devil.
Art is everything I am, all I want to be.
It will be my epitaph.

Bibliography

Filmography

  • The Great American Cowboy, screenplay and narration
  • Wheels of Fire, director and screenplay
  • Arnold and Maria, interviewee
  • Arnold Schwarzenegger: Hollywood Hero, interviewee
  • In the Spirit of Crazy Horse, screenplay (with Justin Ackerman)
  • The Great Joe Bob, screenplay, based on a song by Terry Allen
  • Sirens, photographer
  • Fool for Love, photographer
  • Roosters, photographer

Photography

Public collections

  • Atlantic-Richfield, Dallas, TX, and Los Angeles, CA
  • Center for Southwest Research, UNM, Albuquerque, NM
  • Chase Manhattan Bank, New York, NY
  • The Doan Collection, Fort Dodge, IA
  • Fannin National Bank, Houston, TX
  • Wells Fargo Bank, Los Angeles, CA
  • Steve Gold, Inc., New York, NY
  • Ovenwest Corporation, Albuquerque, NM
  • The Albuquerque Museum, Albuquerque, NM
  • Sheldon Memorial Museum, Lincoln, NE
  • Western Americana Collection, Princeton University, Princeton, NJ
  • Millicent Rogers Museum, Taos, NM
  • Bibliothèque Nationale, Paris, France
  • Blue Cross-Blue Shield, Albuquerque, NM
  • Museum of Fine Arts, Santa Fe, NM
  • El Paso Museum of Archaeology, TX
  • Roswell Museum and Art Center, Roswell NM
  • New Mexico State University Museum, Las Cruces, NM
  • Blue Cross-Blue Shield, Philadelphia, PA
  • Mid-Western State University, Wichita Falls, TX
  • Brooklyn Museum, Brooklyn, NY
  • Marina Pacific Hotel, Venice Beach, CA, two collections
  • Mobil Oil Corporation, Dallas, TX
  • Rose Art Museum, Brandeis University, Waltham, MA
  • City of Phoenix, AZ
  • State of New Mexico, Capitol Building, Santa Fe, NM
  • Museum of the American West, Autry National Center, Los Angeles, CA
  • McAllen International Museum, McAllen, TX
  • The Martin Foundation, San Francisco, CA
  • Star Canyon, Las Vegas, NV
  • Albuquerque International Sunport Collection, NM
  • Princess Cruise Line, CA
  • University of New Mexico, Los Alamos, NM
  • University of New Mexico Art Museum, Albuquerque, NM
  • Regency Hotel, Hong Kong, China
  • University of California at Los Angeles, Arts Library, CA
  • Harwood Museum of Art, Taos, NM

Notable photographs

  • Mesquite, Texas
  • Jimi Hendrix Seattle
  • Taos Man
  • Bareback Rider
  • Tina Turner
  • Andy Warhol at the Factory
  • Arnold Schwarzenegger
  • Horse, La Villita
  • Sandia
  • Jim Morrison Portland
  • Calf Roping, Pendleton
  • Picuris Man
  • Bell Spur
  • Paris, 1980

Notable personalities photographed

Other books, catalogs, and portfolios about Hall or with contribution by Hall

  • Photography in America, New York, Random House, 1974
  • Boundary 2: A Journal of Postmodern Literature, Binghamton, NY, 1982
  • The Cowboy, New York, Stewart, Tabori, & Chang, 1983
  • Photoflexion, New York, St. Martin's Press, 1984
  • Third Western States Exhibition, New York, The Brooklyn Museum; Santa Fe, Western States Arts Foundation, 1986
  • 3 / Photographers: Douglas Kent Hall, Bruce Berman, and Roger Manley, Roswell Museum and Art Center, NM, 1986
  • Images of Spirit and Vision, Santa Fe, NM, Museum of New Mexico Press, 1987
  • Die Gleichzeitigkeit des Anderen, Stuttgart, Germany, Verlag Gerd Hatje, 1987
  • Way Out West, Tokyo, Japan, Treville Publishing Co., 1990
  • Electric Gypsy, London, England, Heinemann and Heinemann, 1990
  • Zero Mass, The Art of Eric Orr, Stockholm, Sweden, Propexus, 1990
  • Esquire/Japan, Working Cowboys and Artist Profile, Tokyo, Japan, July 1991
  • Southwest Profile, Portfolio of Fourteen Photographs; Santa Fe, NM, August, September, October 1991
  • Southwest Profile, Portfolio of Nine Photographs, Santa Fe, NM, November, December, January 1991/1992
  • The Jimi Hendrix Concerts, Bella Godiva Music, Inc., 1991
  • Radio One, Hendrix, Bella Godiva Music, Inc., 1991
  • Imago, vols. 3–5, Japan, Portfolio, 1992
  • Chaco Past, Boxed Portfolio of Douglas Kent Hall photographs of Chaco Canyon, 1992
  • Chaco Future, Boxed Portfolio of Douglas Kent Hall photographs of Chaco Canyon, 1992
  • Photographer's Forum, Exclusive magazine interview and portfolio of eight photographs, November 1992
  • a simple story (Juárez), Terry Allen, Ohio State University, Wexner Center, 1992
  • The Photograph and the American Indian, by Alfred L. Bush and Lee Clark Mitchell, Princeton University Press, 1994
  • The Paintings of William Lumpkins, "William Lumpkins in Roswell," catalog essay, Roswell Museum and Art Center, NM, 1995
  • Understanding Art, Fourth Edition, by Lois Fichner-Rathus, Prentice Hall, 1995
  • It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art, by David S. Rubin, Munich, Prestel, 1995
  • The World of Jimi Hendrix, by Monika Dannemann, St. Martin's Press, New York, 1995
  • Jimi Hendrix: The Ultimate Experience, by Adrian Boot and Chris Salewicz, London, Boxtree, 1995
  • Philadelphia Photo Review, portfolio, Prison Tattoos, the Stations of the Body, volume 19, number 4, Fall 1996
  • Westerns, by Lee Clark Mitchell, University of Chicago Press, 1996
  • A Borderless Vision: A Douglas Kent Hall Retrospective, catalog for Solo Exhibition, Wiegand Gallery, Belmont, CA, 1997
  • Larry Bell: Zones of Experience, two essays, Albuquerque, The Albuquerque Museum, 1997
  • Master Breasts, Aperture, New York, NY, 1998
  • 23. International Biennial of Graphic Arts/Mednarodni Graficni Bienale, Ljubljana, Slovenia, 1999
  • Tamarind: Forty Years, by Marge Devon, University of New Mexico Press, 2000
  • Alvin Lee & Ten Years After, by Herb Staehr, Hingham, MA, Free Street Press, 2001
  • New Mexico Magazine, Master's Showcase, July, 2001
  • Chokecherries 2001 (Cover photo), SOMOS, Taos, NM, 2002
  • Magnifico: Art of Albuquerque: A World of Paint and Polish, catalog essay, August 2002
  • Tony Price Atomic Artist, catalog essay, The Museum of Fine Arts, Santa Fe, NM, "Dancing to the Music: Tony Price in Retrospect," November 2002
  • The Book of War: White Sands, collaborative multimedia artist book. Portfolio of Douglas Kent Hall photographs of White Sands, and DVD/CD of Douglas Kent Hall poetry read by Douglas Kent Hall with music composed and recorded by Devon Hall, composer, 2002
  • The Social Lens, University Art Museum, Albuquerque, NM, July 2003
  • Just You Just Me: The Art of Lily Fenichel, catalog essay, Harwood Museum of Art, Taos, NM, 2004
  • Amazing Men, photographs by Joyce Tenneson, Bulfinch, New York, 2004
  • Classic Hendrix, Genesis Publications, Surrey, England, 2004
  • New Mexico 24/7, DK Publishing, New York, 2004
  • Dugout, by Terry Allen, Austin, University of Texas Press, 2005
  • Carl*s Cars Magazine, Photographic Portfolio and Interview, "Van People." Issue 12, Summer 2005, Oslo, Norway
  • Room Full of Mirrors: A Biography of Jimi Hendrix, by Charles Cross, Hyperion, 2005
  • Carl*s Cars Magazine, Cover and Photographic Portfolio, "Passing." Issue 14, Winter 2005, Oslo, Norway
  • Biennale Internazionale Dell'arte Contemporanea, Quinta Edizione, Florence Biennale, Italy, 2005
  • Hope: Preserving Tibetan Culture, Dalai Lama Benefit, CoolGreySeven/Dalai Lama Norbulinka Institute, 2006
  • Jimi Hendrix: An Illustrated Experience, Janie L. Hendrix and John McDermott, New York and London, Atria Books, 2007
  • Green, Inaugural Exhibition, essay by Sharyn Udall, 516 Arts, Albuquerque, NM, 2007
  • El Palacio, excerpt from In New Mexico Light, 6 pages, Fall 2007
  • Iconic America, Tommy Hilfiger with George Lois, New York, Rizzoli/Universe, November 2007
  • Insights: The Portraiture Of Charles R. Rushton, Nabee-Gerrer Museum of Art, Norman Oklahoma, 2008
  • Titans: Muhammad Ali and Arnold Schwarzenegger, photographs by Al Satterwhite, essay contributions by Douglas Kent Hall, Dalton Watson Fine Art Books, 2008
  • Mass: Of This World: The Art of Alan Paine Radebaugh, Radebaugh Fine Art, Albuquerque 2008
  • Photography: New Mexico, essays by Kristin Barendsen, Fresco Fine Art Publishers, 2008
  • Thirty Year Selected Retrospective, Midwestern State University Art Gallery, Wichita Falls, TX, 2008
  • Illumination: The Paintings of Georgia O'Keeffe, Agnes Pelton, Agnes Martin, and Florence Miller Pierce, Orange County Museum of Art, Newport Beach, CA, 2009
  • Rangefinder, portfolio of eight photographs, article by Paul Slaughter, March 2009

Awards

  • Eric Hoffer Award for Art books, for In New Mexico Light, 2008
  • Finalist, New Mexico Book Awards, art books, for In New Mexico Light, 2008
  • Medici Gold Medal Career Award, Florence Biennale Internazionale Dell'Arte Contemporanea, 2005
  • New Mexico Governor's Award for Excellence in the Arts, 2005
  • Distinguished Alumnus of Uintah High School, Vernal, Utah, 1999
  • Honorary Chair, College of Notre Dame's Sister Catherine Julie Cunningham visiting scholar award. Fine Arts Department, College of Notre Dame, San Francisco, Spring 1997
  • Academy Award for Best Documentary Feature, Great American Cowboy, 1974
  • J. Marinus Jensen Short Story Contest, Brigham Young University, 1959

References

  1. ^ a b c d e f Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  2. ^ a b c d e Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  3. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 149.
  4. ^ Mark Strand, "Sure Enough Cowboys," in Douglas Kent Hall, Visionary (Santa Fe: Pennywhistle Press, 2002), 150.
  5. ^ Robert Doty, ed., Photography in America (New York: The Whitney Museum of American Art, 1974), 246.
  6. ^ Hawes Publications, at http://www.hawes.com/1978/1978.htm.
  7. ^ Sports Illustrated, December 16, 2002, at http://sportsillustrated.cnn.com/si_online/features/2002/top_sports_books/1/
  8. ^ Douglas Kent Hall, The Border: Life on the Line (New York: Abbeville Press, 1988), flap copy.
  9. ^ Douglas Kent Hall, Frontier Spirit: Early Churches of the Southwest (New York: Abbeville Press, 1990), flap copy.
  10. ^ At www.cabq.gov/museum.
  11. ^ Douglas Kent Hall, In New Mexico Light (Santa Fe: Museum of New Mexico Press, 2007).
  12. ^ Joyce Tenneson, Amazing Men (New York: Bulfinch, 2004), 50–51.
  13. ^ Craig, Smith, (March 31, 2008). "Douglas Kent Hall, 1938-2008: A career full of diversity, insight". The Santa Fe New Mexican. http://www.santafenewmexican.com/Local%20News/douglas-kent-hall---1938-2008-A-career-full-of-diversity--insig. Retrieved May 18, 2010. 
  14. ^ a b ImagingInfo, "Forty Images—Forty Years: A Retrospective," posted online October 15, 2007, updated July 8, 2008, at http://www.imaginginfo.com.
  15. ^ Mag Dimond, Douglas Kent Hall—A Borderless Vision (Belmont, CA: Wiegand Gallery of the College of Notre Dam, 1997), 10.
  16. ^ New York Times Book Review, May 7, 1972.
  17. ^ Publisher's Weekly, October 7, 1974.
  18. ^ Bestsellers, September 1977
  19. ^ Mag Dimond, Douglas Kent Hall—A Borderless Vision (Belmont, CA: Wiegand Gallery of the College of Notre Dame, 1997), 12-13.
  20. ^ Western Horseman, December 1973, 74.
  21. ^ Bill Richardson, in In New Mexico Light (Santa Fe: Museum of New Mexico Press, 2007), back jacket.
  22. ^ Jon Bowman, "Books: Guest Review by Jon Bowman," New Mexico Magazine (January 2008): 24.
  23. ^ Alfred Bush, Introduction, in Douglas Kent Hall, Passing Through (Flagstaff, AZ: Northland, 1989).
  24. ^ David Bell, Journal North, December 14, 1989, 4.
  25. ^ Mark Strand, Vogue Magazine, "People Are Talking About," March 1985.
  26. ^ Dave Gagon, Deseret Morning News, January 13, 2008.
  27. ^ Sam Shepard, Foreword, In New Mexico Light, photographs by Douglas Kent Hall (Santa Fe: Museum of New Mexico Press, 2007), 12.
  28. ^ Paul Slaughter, "Douglas Kent Hall, 21st Century Renaissance Artist," Rangefinder (March 2009): 96–101.
  29. ^ a b Paul Slaughter, "Douglas Kent Hall, 21st Century Renaissance Artist," Rangefinder (March 2009): 96–101.

External links


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