Board_Advisors_etc 3..5

being coordinated within the Hasselblad Center
library. The Center also publishes the magazineHAS-
SELBLADCENTER.
http://www.hasselbladcenter.se
http://www.hasselbladfoundation.org

Switzerland

Muse ́e de l’Elyse ́e, Lausanne
Known as ‘‘a museum for photography,’’ the
museum was founded in 1985. Housed in an eight-
eenth century villa, the museum exhibits and collects
photography from its beginnings to the present day
and in all its aspects including journalism, advertis-
ing, fashion, social documentary, and scientific and
fine art photography, and houses approximately
27,000 items, including the International Polaroid
Collection with over 4,600 prints and the Associa-
tion for Contemporary Photography Collection with
approximately 450 prints. Highlights include works
by Adolphe Braun, Gianni Berengo Gardin, Robert
Capa, Gilles Caron, Adrien Constant de Rebecque,
Jean-Gabriel Eynard, Francis Frith, Mario Giaco-
melli, Gabriel Lippmann, Lucia Moholy, John Phil-
lips, Sebastia ̃o Salgado, Andre ́ Schmid, and
Christine Spengler. The museum houses a great
number of historical archives including the Associa-
tion for Contemporary Photography Archive. The

library contains thousands of books, numerous

photo journals, and a reading room. The museum

mounts 15 to 20 photo exhibitions each year in six

galleries on four floors with approximately 1,200

square meters. The program is international.

http://www.elysee.ch

Fotomuseum Winterthur, Winterthur

Founded in 1993, the Fotomuseum collects both

art photography and applied photography in the

areas of architecture, fashion, and industry. The

collection consists primarily of contemporary photo-

graphy, starting with an in-depth representation of

work by Swiss-born Robert Frank. The 1960s and

1970s are represented by Lewis Baltz, Larry Clark,

William Eggleston, Valie Export, Hans-Peter Feld-

mann, Peter Hujar, and Urs Lu ̈thi, and recent inter-

national developments bring the collection up to the

present day. The Fotomuseum Winterthur seeks to

acquire groups of works rather than single examples.

The applied photography archive is especially rich in

industrial photography from the Van Roll firm. Five

to seven exhibitions are mounted in five galleries of

550 square meters.

http://www.fotomuseum.ch

Franz-XaverSchlegal

MUSEUMS: UNITED STATES

The history of twentieth-century photography in the
United States has certainly been inextricable from, if
not entirely symbiotic with, the history of its institu-
tions. These institutions have ranged from small gal-
leries to grand museums, from alternative exhibitions
spaces to subject-driven archives. Considering, for
example, the aspirations and activities of Alfred Stie-
glitz, it would be easy enough to argue for his place
as a forefather of later twentieth-century photogra-
phy curators. His galleries displayed photography
with the instructive aim of securing the medium a
place within the long-established hierarchies of art.
Such public displays were supplemented in print by
his journalsCamera WorkandCamera Notes,tosay
nothing of his enthusiastic collecting practices.

Indeed, some of the most important museum photo-

graphy collections have been graced by gifts from

Stieglitz’s vast holdings of American photography.

However familiar such practices may have become to

the operation of museums later in the century, the

fact remains that Stieglitz ran a gallery with the intent

to sell—albeit intermittently—the works of art he

exhibited by the artists he supported. This example

of Stieglitz is intended to acknowledge at the outset

of this discussion the complicated and sometimes

contradictory points of intersection between institu-

tional categories that are considered distinct more

often than may be warranted. Like the galleries run

by Stieglitz during his lifetime, a variety of institu-

tions have impacted the developments of photogra-

MUSEUMS: UNITED STATES