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Cohen. New York: Thames and Hudson, 2001.VAN DEREN COKE
American
Van Deren Coke has contributed to the fine art of
photography as an educator, editor, writer, col-
lector, curator, historian, and photographer.
From his days as a graduate student in art history
at Indiana University, where his selected topic of
the influences of photography on nineteenth-cen-
tury painting was rejected by his thesis committee
because ‘‘the subject did not exist,’’ to his position
of director of the department of photography at
the San Francisco Museum of Modern Art, where
he championed unknown, controversial artists,
Coke helped carve photography’s place as a
fine art.
Coke taught the fledgling field of creative photo-
graphy at a number of schools, including the Uni-
versity of Florida in 1958, Arizona State University
in 1961 and again from 1988–1991, and St. Mar-
tin’s School of Art in London in 1968. In 1962, he
was appointed director of the art museum at the
University of New Mexico, where he began collect-
ing photographs for the museum’s permanent col-
lection, and the next year he began the university’s
creative photography department. After Beaumont
Newhall joined the faculty in 1971, UNM became
the first school in the country to offer a Ph.D. in
photo history.
Coke said he created the UNM graduate pro-
gram in photography to acquaint students with
photography as a means of self-expression on a
par with painting, sculpture, and printmaking. It
was designed, he said, to ‘‘open students to an
understanding of the responsibilities of the creative
person and what was expected from one who ser-
iously practiced photography as an art and a means
of philosophic communication.’’ His students have
included Ralph Meatyard, Meridel Rubenstein,
and Harold Jones. Curators of a 1991 group exhi-
bition titledPatterns of Influence: Teacher/Student
Relationships in American Photography Since 1945
at the Center for Creative Photography in Tucson,
Arizona, said, ‘‘Coke’s students are not limited to
those who have attended the universities where he
has taught but can be counted as anyone who
attended an exhibition he organized or read a
book he wrote.’’
Coke left UNM to take Beaumont Newhall’s
place as director of the George Eastman House in
Rochester, New York, when Newhall decided to
retire. An old friend of Newhall’s, Coke began his
duties at the Eastman House in 1970 to be trained
during Newhall’s final year as director. After visit-
ing the Southwest, Newhall changed his mind
about remaining in Rochester after retirement,
and at Coke’s suggestion and Nancy Newhall’sCOHEN, LYNNE