Urbana Museum of Photography

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Urbana Museum of Photography Serving Art of Photography Art Gallery, Darkroom, Photo Lab, Photo Studio.

"Portrait of Edward Weston. Point Lobos, CA." 1946by Cole Weston (1919-2003}(silver gelatin print, signed)..Cole Weston,...
09/01/2026

"Portrait of Edward Weston. Point Lobos, CA." 1946
by Cole Weston (1919-2003}
(silver gelatin print, signed)
..Cole Weston, born on January 30, 1919 in Los Angeles, was the fourth and youngest son of famed 20th Century photographer, Edward Henry Weston. Cole received his first camera, a 4 by 5 Autograflex, from his brother Brett in 1935. Cole graduated with a degree in theater arts from the Cornish School in Seattle in 1937 and then served in the Navy during World War II as a welder and photographer. After his discharge from the Navy in 1945 Cole worked for Life Magazine. In 1946 he moved to Carmel to assist his father Edward. During this time Eastman Kodak started sending their new color film, Kodachrome, for Edward to try out. Cole took this opportunity to experiment with this new medium and eventually became one of the world’s great masters of fine art color photography.

"Well, my earliest memory is my father’s darkroom sink, up in Tropico, and my sailing little boats in his darkroom sink. Then my brother Neil and I used to break out all the windows in his darkroom, so dad would give us his glass plates. “Here, take these, dip them in lye, and clean them off.” Then he would put them in his windows again. Those are two of my earliest memories of my father and his studio. Also, I have another very strong memory. He used to have these women, I swear they were old women, but they were young women that worked for him. I remember this one. He was in the darkroom showing her something. He told me to go out and see if the red streetcar that ran from Glendale to Tropico to Los Angeles was coming. I went out and came back quickly. Here was my father holding this girl, kissing this girl. I’ll be. He didn’t live with my mother then at all. They lived apart. I was born in 1919 and my father had mistresses then. I always wondered how I was ever born. They must have gotten together just for old times or something. How was I conceived? I never remember sitting down at the dinner table with my father – never. We never had a family dinner. I have the strongest memory of my sitting at our big table in Glendale at my mother’s place. My father’s studio was a couple of miles away. My mother was a school teacher, and she was a wonderful old gal, but she didn’t cook much. She used to go to school, teach, come back, have a cigarette, which she wasn’t allowed, and go to bed. I remember one Thanksgiving or Christmas sitting down at this table with a big turkey, all by myself. I was the only one there. It was pretty lonely. We traded off a great deal with my mother and father. They were amiable, on good terms, all their lives, at least that I knew them. They were divorced so we went back and forth to my father’s and then to my mother’s."
Cole Weston.

We continue to celebrate the art of photography by showcasing outstanding works by the masters.In this edition, we are p...
08/31/2026

We continue to celebrate the art of photography by showcasing outstanding works by the masters.
In this edition, we are pleased to introduce an iconic masterpiece by the pioneering American photographer and photojournalist, Margaret Bourke-White (1904–1971):
"Fort Peck Dam, Montana" (1936).
This famous image was featured on the cover of the inaugural issue of LIFE magazine on November 23, 1936.

...turning the Gallery into the Portrait Studio.We have lights now!
08/10/2026

...turning the Gallery into the Portrait Studio.
We have lights now!

“Dead men will have indeed died in vain if live men refuse to look at them.” A photograph has the rare ability to preser...
03/03/2026

“Dead men will have indeed died in vain if live men refuse to look at them.”

A photograph has the rare ability to preserve a historic moment in time and to provide viewers with the uncanny sense of having been present when it was taken.
Margaret Bourke-White accompanied General George Patton’s Third Army on its storied march through a collapsing Germany in the spring of 1945. Life magazine published her photographs of the concentration camps in the May 7, 1945, issue with the caption, “Dead men will have indeed died in vain if live men refuse to look at them.” The Living Dead at Buchenwald, however, was not published in the magazine until 1960, in a special anniversary issue. One of the most extraordinary photographs of the Holocaust, it captures both N**i barbarism as well as the strength of prisoners who survived forced labor and brutality within one of the worst of Germany’s twenty thousand concentration camps.

"Buchenwald was the first major concentration camp to be liberated by the American troops while it was still populated with inmates. To be sure, more than twenty thousand inmates had already been driven away on death marches, but nearly the same amount had remained behind in the camp. The Americans encountered survivors from the Soviet Union, Poland, France, Germany, Czechoslovakia, Hungary, Spain, and many other countries. Among them were several hundred children and a large number of adolescents who had been deported to Buchenwald from the extermination camps in the east over the course of the preceding months. Aside from the parent camp with its exclusively male population, the Americans also liberated Buchenwald subcamps in which women had had to work for the German armaments industry."

Margaret Bourke-White.
"The Living Dead at Buchenwald" 1945.
On Display --"Between War and Peace" show.

"Between War and Peace"War and Peace are not fixed states but experiences filtered through memory, power and perspective...
02/19/2026

"Between War and Peace"

War and Peace are not fixed states but experiences filtered through memory, power and perspective, where one person's liberation can be another's catastrophe. What is called peace by those in safety may feel like silent violence to those living under occupation, hunger, or fear. In this way, history does not record war and peace as truths, but as competing stories shaped by who survives to tell them.

Minor White (1908-1976.)“Hands”. 1949San Francisco, CA.Silver Gel. Print. Signed.
02/16/2026

Minor White (1908-1976.)
“Hands”. 1949
San Francisco, CA.
Silver Gel. Print. Signed.

“Jack Kerouac, railroad brakeman’s rule-book in pocket,couch pillows airing on fire-escape overlooking backyard clothesl...
01/23/2026

“Jack Kerouac, railroad brakeman’s rule-book in pocket,
couch pillows airing on fire-escape overlooking backyard clotheslines three flights up, my apartment 206 East 7th Street between Avenue B and C, Lower East Side Manhattan. Jack’d completed On the Road (after publishing The Town and the City four years earlier) as well as Visions of Cody and Dr. Sax, and’d begun Book of Dreams and Pic. I was in midst of Ju**ie manuscript offer with ‘Murder for’ that novel completed same year along with his romance Maggie Cassidy. Burroughs then in residence edited Yage letters and Q***r mss; Gregory Corso visited that season, probably September 1953.”
Allen Ginsberg

"Jack". NY, 1953
by Allen Ginsberg
Platinum/Palladium print.
UMoP.

Film Crash-Course at UMoP..and we're crashing it!
01/17/2026

Film Crash-Course at UMoP..and we're crashing it!

Danny Lyon (b. 1942)"Four Youngsters" 1965.Silver gel. print. Signed.(from "Uptown Chicago" series.)"Brooklyn native Dan...
01/17/2026

Danny Lyon (b. 1942)
"Four Youngsters" 1965.
Silver gel. print. Signed.
(from "Uptown Chicago" series.)

"Brooklyn native Danny Lyon received a BA in history in 1963 from the University of Chicago, where he served as staff photographer for the Student Non-Violent Coordinating Committee. A self-taught photographer, he traveled with the Chicago Outlaws motorcycle club in 1965-1966 and published his pictures of the club members as The Bikeriders (1968). Since 1967 he has been an independent photographer and an associate at Magnum, and he has made films since 1969. Lyon has received Guggenheim Fellowships in photography and filmmaking, and his work has been included in many major exhibitions, including Toward a Social Landscape at the George Eastman House. His first solo exhibition was held at the Art Institute of Chicago. In addition to The Bikeriders, Lyon has published a number of photographic books based upon his experiences with a group of people or in a particular place, among them The Movement (1964), about the Civil Rights movement, and Conversations with the Dead (1971), a study of life in Texas prisons. Among the films he has produced are Social Services 127, Los Niños Abandonados, and Little Boy."

(On display)

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