1991 Patterns of Influence: Teacher/Student Relationship in
American Photography Since 1945; Center for Creative
Photography, University of Arizona, Tucson, Arizona
1998 Urban Visions; Addison Gallery of American Art,
Andover, Massachusetts
2004 In The Center of Things: A Tribute to Harold Jones;
Center for Creative Photography, University of Arizona,
Tucson, Arizona
Selected Works
Untitled, 1959
Maroon Bells, Colorado, 1969
Phoenix, 1974
Notations in Passing, 1974
Riding 1st Class on the Titanic!, 1974–1987
After 9/11, 2001–2002
Further Reading
ByLyons:
Photographers on Photography. Englewood Cliffs, NJ: Pre-
ntice-Hall, 1966. (Currently in 20th edition). Translated
by Bruno Boueri in Italian asFotografi Sulla Fotografia,
Torino: Agora Editrice, 1990.
Points of View: The Stereograph in America; A Cultural
History. Edited by Edward W. Earle. Rochester, NY:
Visual Studies Workshop Press, 1979.
Introduction. Vision and Expression. Contemporary Photo-
graphers Series, New York: Horizon Press in collabora-
tion with George Eastman House, 1969.
Photography in the Twentieth Century. Contemporary
Photographers Series in conjunction with an exhibition
prepared for the National Gallery of Canada. New
York: Horizon Press, in collaboration with George East-
man House, 1967.
The Persistence of Vision. Contemporary Photographers
Series. New York: Horizon Press, in collaboration with
George Eastman House, 1967.
Toward a Social Landscape. Contemporary Photographers
Series. New York: Horizon Press, in collaboration with
George Eastman House, 1966.
Aaron Siskind: Photographer. Edited and with an introduc-
tion by Nathan Lyons. Rochester: George Eastman
House, 1965.
Under the Sun: The Abstract Art of Camera Vision. With
Walter Chappell and Syl Labrot. New York: George
Braziller, Inc. 1960.
Notations in Passing. Cambridge, MA: MIT Press, 1974.
Verbal Landscape/Dinosaur Sat Down. Buffalo, NY: Center
for Exploratory & Perceptual Art and Albright Knox
Gallery, 1987.
Riding 1st Class on the Titanic! Photographs By Nathan
Lyons. Preface by Adam D. Weinberg and afterward
by Leroy F. Searle. Andover, MA: Addison Gallery of
American Art, Phillips Academy, distributed by MIT
Press, 1999.
After 9/11. Introduction by Marvin Bell and afterward by
Richard Benson. New Haven, CT: Yale University Art
Gallery, 2003.OnLyons:
Doty, Robert, ed.Photography in America. New York: The
Whitney Museum of American Art, 1974.
Finkel, Candida. ‘‘Photography as Modern Art: The Influ-
ence of Nathan Lyons and John Szarkowski.’’Exposure
18:2 (1981): 22–35.
George Eastman House.A Collective Endeavor: The First
Fifty Years of George Eastman House. Rochester, NY:
George Eastman House, 1999.
Goldberg, Vicki. ‘‘Subtle Juxtapositions From A Diffident
Force for Change.’’New York Times(May 12, 2000).
Grundberg, Andy, and Kathleen McCarthy Gauss, eds.
Photography and Art, Interactions Since 1946. New
York: Abbeville Press, 1987.
Hume, Sandy, Ellen Manchester, and Gary Metz, eds.The
GreatWest:Real/Ideal.Boulder,CO:UniversityofColor-
ado, 1977.
‘‘Nathan Lyons: After 9/11.’’Contact Sheet123, 2003.
Newhall, Beaumont. ‘‘New Talent USA: Photography.’’
Art in America48, no. 1 (1960): 38–47.
Pelizzari, Maria Antonella. ‘‘Nathan Lyons: An Interview.’’
History of Photography(Summer 1997): 147–155.
Saharuni, Randy. ‘‘Nathan Lyons: The Tip of the Iceberg.’’
Paris Photono. 24 (Feb/March 2003): 88–97.
Searle, Leroy.Four Photographers By Four Writers. Boul-
der, CO: University of Colorado, 1987.
Tucker, Anne Wilkes, ed.In Sequence, Target III: Photo-
graphic Sequences from the Target Collection of Ameri-
can Photography. Houston, TX: The Museum of Fine
Arts, 1982.LYONS, NATHAN