Douglas Kent Hall

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For other people of the same name, see Douglas Hall (disambiguation).
Douglas Kent Hall
DouglasKentHall.jpg
Born December 12, 1938
Vernal, Utah
Died March 30, 2008(2008-03-30) (aged 69)
Albuquerque, New Mexico
Occupation Writer, photographer
Language English
Nationality United States
Education Brigham Young University
Iowa Writers' Workshop
Period 1955–2008
Spouse Claire Nicholson (1959–1970)
Dawn Claire Davidson (1971–2008)
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, his first published photographs were of Jimi Hendrix and Jim Morrison, and his first exhibition of photographs was at the Whitney Museum of American Art.

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.

Biography[edit]

Early years[edit]

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[edit]

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 L. 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 Ghiselin, editor 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. Hall wrote and published extensively while at Iowa.[1]

Early career[edit]

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 Ginsberg, W. H. Auden, Anaïs Nin, Gary Snyder, Robert Duncan, William Stafford, and Robert Bly. Hall also became active in an organization called American Writers Against the Vietnam War. 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, Morocco, 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[edit]

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 1972. This book fictionalized Hall's childhood years in Vernal, Utah, and his renegade Hall relatives.[1]

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.[2]

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.[1]

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."[3] 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.[4]

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 was on the New York Times Best Seller list for eleven weeks in 1978.[5] In 2002, Sports Illustrated included the Hall/Schwarzenegger collaboration as number 71 on their "Top 100 Sports Books of All Time".[6] 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.[1]

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."[7] 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."[8] 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.[1]

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 handmade paper that was brushed with emulsion. Hall embellished the works with gold leaf, Chinese and Japanese calligraphy, and acrylics.[1] 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.[9]

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.[10]

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.[1]

Martial arts[edit]

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.[11]

Death[edit]

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.[12] In a 2011 review of an exhibition of Hall's platinum photographic prints, art critic Wesley Pulkka wrote, "He died suddenly . . . like a perfectly tuned race car with a hidden flaw whose engine implodes two-thirds down the straightaway while well in the lead."[13]

Writing[edit]

Hall's first writing was fiction. 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."[14] The New York Times Book Review noted, "Mr. Hall invents distinctive family backgrounds for his three heroes and arranges them into an impressionistic chronicle."[15] 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)."[16] 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."[17]

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.'"[18] 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."[19] 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."[20] 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."[21]

Photographs[edit]

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."[22] 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 Brasileiros (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."[23] 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."[24] 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."[25] 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."[26] When discussing the complex relationship of a photograph to history, Hall noted to the author of Photography: New Mexico, Kristin Barendsen, "that a photograph imparts the illusion of permanence, when in fact the scene depicted no longer exists. What's more, he said, the photograph does not represent exactly what its maker saw. It takes on a life of its own, and because each viewer experiences it differently, the image reflects an essence of the viewer. 'That's not my photograph,' he said, pointing to his most famous image, Mesquite, TX, hanging in his studio. 'It belongs to the viewer.'"[27]

Transition to digital photography[edit]

Hall started out with a 35mm camera, added a 214 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."[28] 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."[28]

Awards[edit]

Quotations[edit]

  • 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.[35]
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.[1]

Works[edit]

Books[edit]

Films[edit]

  • The Great American Cowboy, screenplay and narration[29]
  • Wheels of Fire, director and screenplay[36]
  • Arnold and Maria, interviewee, E! Networks, 2003
  • Arnold Schwarzenegger: Hollywood Hero, interviewee[37]
  • In the Spirit of Crazy Horse, screenplay (with Justin Ackerman)[38]
  • The Great Joe Bob, screenplay, based on a song by Terry Allen[38]
  • Sirens, photographer[39]
  • Fool for Love, photographer[40]
  • Roosters, photographer[41]
  • Tattoo Nation, still photographs[42]

Photography[edit]

Public collections[38]
Notable photographs[43]
  • Mesquite, Texas[44]
  • Jimi Hendrix Seattle
  • Taos Man
  • Bareback Rider
  • Tina Turner[45]
  • Andy Warhol at the Factory
  • Arnold Schwarzenegger
  • Horse, La Villita
  • Generations, Navajo[44]
  • Sandia
  • Jim Morrison, Portland[46]
  • Calf Roping, Pendleton
  • Picuris Man
  • Bell Spur
  • Paris, 1980
Notable personalities photographed[47]

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

  • Photography in America, New York, Random House, 1974, pp. 246–47. ISBN 0-517-39128-7
  • Boundary 2: A Journal of Postmodern Literature, Binghamton, NY, 1982
  • The Cowboy, New York, Stewart, Tabori, & Chang, 1983, pp. 226–27. ISBN 0-941434-25-7
  • Princeton University Library Chronicle, vol. XLIV, Spring 1983, portfolio of Matachines photographs
  • Photoflexion, New York, St. Martin's Press, 1984
  • Third Western States Exhibition, New York, The Brooklyn Museum; Santa Fe, Western States Arts Foundation, 1986, Library of Congress Catalogue No. 85-052333
  • 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, p. 74. ISBN 0-89013-169-4
  • Die Gleichzeitigkeit des Anderen, Stuttgart, Germany, Verlag Gerd Hatje, 1987
  • Way Out West, Tokyo, Japan, Treville Publishing Co., 1990, 21 pages. ISBN 978-4-8457-0575-7 C0072
  • Electric Gypsy, London, England, Heinemann and Heinemann, 1990, color p. xv. ISBN 0-312-05861-6
  • Zero Mass, The Art of Eric Orr, Stockholm, Sweden, Propexus, 1990, pp. 284–85. ISBN 91-87952-03-3
  • 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, pp. 18, 36, 96, 122, 154. ISBN 0-7935-0102-4
  • Radio One, Hendrix, Bella Godiva Music, Inc., 1991, all photographs. ISBN 0-7935-0307-8
  • 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 ISBN 0-691-03489-3
  • 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. ISBN 3791316273, ISBN 978-3791316277
  • The Inner World of Jimi Hendrix, by Monika Dannemann, St. Martin's Press, New York, 1995. ISBN 0-312-13738-9
  • Jimi Hendrix: The Ultimate Experience, by Adrian Boot and Chris Salewicz, London, Boxtree, 1995. ISBN 0-7522-0710-5
  • 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. ISBN 0-226-53234-8
  • 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, Library of Congress Catalogue No. 94-12045
  • Eyewitness: The Illustrated Jimi Hendrix Concerts, 1969–1970, complied by Ben Valkhoff, Up from the Skies Unlimited, Nijmegen, the Netherlands, 1997, p. 80. ISBN 90-803803-1-8
  • Master Breasts, Aperture, New York, NY, 1998, pp. 4–5. ISBN 0-89381-803-8
  • 23. International Biennial of Graphic Arts/Mednarodni Graficni Bienale, Ljubljana, Slovenia, 1999
  • Leslie Marmon SIlko, University of New Mexico Press, 1999, cover photograph. ISBN 0-8263-2033-3
  • Tamarind: Forty Years, by Marge Devon, University of New Mexico Press, 2000, p. 145. ISBN 0-8263-2072-4
  • Spider Woman: A Story of Navajo Weavers and Chanters, Gladys Reichard, University of New Mexico Press, 2001, cover photograph. ISBN 0-8263-1793-6
  • Alvin Lee & Ten Years After, by Herb Staehr, Hingham, MA, Free Street Press, 2001. ISBN 0-9708700-0-0
  • 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. ISBN 0-9675106-7-8; ISBN 978-0-9675106-7-5
  • 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. ISBN 0-9741023-9-3; ISBN 978-0-9741023-9-9
  • Amazing Men, photographs by Joyce Tenneson, Bulfinch, New York, 2004. ISBN 0-8212-2855-2
  • Classic Hendrix, Genesis Publications, Surrey, England, 2004 ISBN 0-904351-90-4; ISBN 978-0-904351-90-3
  • New Mexico 24/7, DK Publishing, New York, 2004, pp. 65, 66, 70–71, 107, 110, 120–21. ISBN 0-7566-0071-5
  • Dugout, by Terry Allen, Austin, University of Texas Press, 2005. ISBN 0-292-70686-3
  • 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, insert p. 9. ISBN 1-4013-0028-6
  • 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
  • Essentials of Argument, by Nancy V. Wood, Pearson/Prentice Hall, NJ, 2006, border photograph. ISBN 0-205-82702-0
  • 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. ISBN 978-0-7432-9769-1; ISBN 0-7432-9769-5
  • 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. ISBN 978-0-7893-1573-1
  • Insights: The Portraiture Of Charles R. Rushton, Nabee-Gerrer Museum of Art, Norman Oklahoma, 2008. ISBN 978-0-615-17331-3
  • Titans: Muhammad Ali and Arnold Schwarzenegger, photographs by Al Satterwhite, essay contributions by Douglas Kent Hall, Dalton Watson Fine Art Books, 2008. ISBN 978-1-85443-231-5
  • 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. ISBN 978-1-934491-10-2
  • 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. ISBN 978-1-85894-481-4
  • Rangefinder, portfolio of eight photographs, article by Paul Slaughter, March 2009
  • Terry Allen, University of Texas Press, 2010. ISBN 978-0-292-72246-0
  • College of Notre Dame People: Douglas Kent Hall, Textstream, 2010. ISBN 9781156898840; ISBN 1156898846
  • Perspectives on Argument, by Nancy V. Wood and James Miller, Pearson Education, NJ, 2011, border photograph. ISBN 0-205-06033-1
  • The Rolling Stones in Portugal, Rolando Rebolo, Zebra Publicações, 2011
  • Larry Bell, Carré d’Arte–Musée d’art contemporain de Nîmes, France, 2011. ISBN 978-2-84066-442-0
  • Princeton University Library Chronicle, vol. LXXIII, Autumn 2011, announcement of the acquisition of the Douglas Kent Hall Papers
  • Hendrix on Hendrix: Encounters and Interviews with Jimi Hendrix, Steven Roby, Chicago Review Press, 2012. ISBN 978-1-61374-322-5
  • Visualizing Albuquerque: Art of Central New Mexico, Joseph Traugott, Albuquerque Museum, 2015. ISBN 978-0-9779910-8-2
  • 100 Years of Tattoos, David McComb, London: Laurence King Publishing, forthcoming October 2015, ISBN 978-1-78067-476-6

References[edit]

  1. ^ a b c d e f g h i j k l m n o Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 27–134.
  2. ^ Douglas Kent Hall, Visionary: An Autobiography with Commentary (Santa Fe: Pennywhistle Press, 2002), 149.
  3. ^ Mark Strand, "Sure Enough Cowboys," in Douglas Kent Hall, Visionary (Santa Fe: Pennywhistle Press, 2002), 150.
  4. ^ Robert Doty, ed., Photography in America (New York: The Whitney Museum of American Art, 1974), 246.
  5. ^ "The New York Times Best Seller List, April 23, 1978" (PDF). Hawes Publications. Retrieved 18 November 2010. 
  6. ^ "The Top 100 Sports Books of All Time". Sports Illustrated. December 16, 2002. 
  7. ^ Douglas Kent Hall, The Border: Life on the Line (New York: Abbeville Press, 1988), flap copy.
  8. ^ Douglas Kent Hall, Frontier Spirit: Early Churches of the Southwest (New York: Abbeville Press, 1990), flap copy.
  9. ^ At www.cabq.gov/museum.
  10. ^ Douglas Kent Hall, In New Mexico Light (Santa Fe: Museum of New Mexico Press, 2007).
  11. ^ Joyce Tenneson, Amazing Men (New York: Bulfinch, 2004), 50–51.
  12. ^ Craig, Smith, (March 31, 2008). "Douglas Kent Hall, 1938–2008: A career full of diversity, insight". The Santa Fe New Mexican. Retrieved May 18, 2010. 
  13. ^ Wesley Pulkka, "A Life Lived with Eyes Wide Open," Albuquerque Journal, November 6, 2011.
  14. ^ Mag Dimond, Douglas Kent Hall—A Borderless Vision (Belmont, CA: Wiegand Gallery of the College of Notre Dame, 1997), 10.
  15. ^ New York Times Book Review, May 7, 1972.
  16. ^ Publisher's Weekly, October 7, 1974.
  17. ^ Bestsellers, September 1977
  18. ^ Mag Dimond, Douglas Kent Hall—A Borderless Vision (Belmont, CA: Wiegand Gallery of the College of Notre Dame, 1997), 12-13.
  19. ^ Western Horseman, December 1973, 74.
  20. ^ Bill Richardson, in In New Mexico Light (Santa Fe: Museum of New Mexico Press, 2007), back jacket.
  21. ^ Jon Bowman, "Books: Guest Review by Jon Bowman," New Mexico Magazine (January 2008): 24.
  22. ^ Alfred Bush, Introduction, in Douglas Kent Hall, Passing Through (Flagstaff, AZ: Northland, 1989).
  23. ^ David Bell, Journal North, December 14, 1989, 4.
  24. ^ Mark Strand, Vogue Magazine, "People Are Talking About," March 1985.
  25. ^ Dave Gagon, Deseret Morning News, January 13, 2008.
  26. ^ Sam Shepard, Foreword, In New Mexico Light, photographs by Douglas Kent Hall (Santa Fe: Museum of New Mexico Press, 2007), 12.
  27. ^ Kristin Barendsen, Photography: New Mexico (Albuquerque: Fresco Fine Art Publications, 2008), 101.
  28. ^ a b c Paul Slaughter, "Douglas Kent Hall, 21st Century Renaissance Artist," Rangefinder (March 2009): 96–101.
  29. ^ a b http://www.imdb.com/title/tt0070135/awards
  30. ^ http://www.ndnu.edu/academics/; Douglas Kent Hall, Visionary: An Autobiography (Santa Fe: Pennywhistle Press, 2002), 27–134.
  31. ^ The New Mexican, Pasatiempo, September 23–29, 2005, p. 62; Rio Grande Sun, Arts, June 16, 2005, p. 10.
  32. ^ http://www.florencebiennale.org/e_premiati05.php
  33. ^ http://nmbookcoop.com/2008-Finalists.pdf
  34. ^ http://www.hofferaward.com/HAbookwinners.html
  35. ^ Douglas Kent Hall, 3 / Photographers (Roswell: Roswell Museum and Art Center, 1986), p. 3.
  36. ^ http://www.imdb.com/title/tt0131132/
  37. ^ http://www.imdb.com/title/tt0214490/
  38. ^ a b c http://www.douglaskenthall.com
  39. ^ http://www.imdb.com/title/tt0111201/
  40. ^ http://www.imdb.com/title/tt0089160/
  41. ^ http://www.imdb.com/title/tt0107987/
  42. ^ http://www.imdb.com/title/tt2207870/?ref_=fn_al_tt_1
  43. ^ http://diglib.princeton.edu/ead/getEad?eadid=WC066&kw=
  44. ^ a b http://www.artslant.com/global/artists/show/34756-douglas-kent-hall?tab=ARTWORKS
  45. ^ http://www.artnet.com/artwork/425844705/tina-turner-1969.html
  46. ^ http://www.artnet.com/artists/douglas+kent-hall/past-auction-results
  47. ^ http://arks.princeton.edu/ark:/88435/9z903061h; the Douglas Kent Hall Papers, including manuscripts, negatives, color transparencies, prints, and correspondence, are archived at Princeton University Library, Rare Books and Special Collections.

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