407:"Photography Degree Zero" comprises Carey's experimental, darkroom-less work using a large-format Polaroid 20 x 24 camera, which explores the possibilities of minimalist photography. These images—made without reference to a subject—defy fundamental expectations of "picture taking" through an image-making technique that she discovered, which exploits random developing emulsion flows by pulling the film from the camera (the "Pulls" series) and interrupting the dye-transfer process; in other cases, she rolls back the film, creating multiple exposures ("Rollbacks"), or mixes incompatible emulsions or developer to manipulate the process.
443:. In addition to presenting the positive Polaroid images, Carey is singular in also presenting the peeled-off negatives as works of equivalent artistic substance. Reviewers describe these elemental positive and negative works—borne of life-changing loss and existential crisis for Carey—as an emptying out of the image in which the process itself becomes the subject seen in the final, immediate result.
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photograms. She has experimented with the medium's chemical, light-related, color and material properties, often rejecting its documentary dimension and hierarchical relations of subject and object in favor of possibilities residing between painting and sculpture, realized through the manipulation of process and printing. Her work references a wide-range of movements, including
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and crumples ("dings") occurring at all angles, which Carey draws out with a penlight to create shadow and depth; she has often exhibited them in installations of up to twenty panels. Her "Zerograms" (2018) reflect elements of her parallel "Pulls" series, incorporating a stark, geometric void in their centers that suggests a new sense of illusory space.
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355:—who placed botanical specimens, salt, silver or other objects onto light-sensitive paper to create "shadow" images. Carey creates hers in total darkness using photosensitive paper, which she crumples, creases, obscures or filters and exposes to light, creating color, shadow and depth effects that record her actions (e.g.,
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Carey's "Caesura" series (2016–18) features vertical breaks in color along central axes with fine, radiating vein-like fissures that she creates by creasing or accordion-folding the paper. The "Dings & Shadows" series (2010– ) introduces greater compositional range with dense surfaces of wrinkles
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Critic and curator Lyle Rexer identifies Carey as among the "most committed experimental photographers" in the United States; her explorations span black-and-white self-portraits embellished with paint, psychedelic portraits and abstract works made with the
Polaroid 20 x 24, and cameraless, abstract
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In 1984, she turned to brilliantly hued, multiple-exposure color images, made with one of only five existing
Polaroid 20 Ă— 24 cameras, which were cooler, androgynous, and more aesthetically seductive. This work departed from traditional portraiture in no longer seeking to capture the character or
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Carey's work is in the permanent collections of the
Metropolitan Museum of Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Centre Pompidou, Art Institute of Chicago, Smithsonian American Art Museum, San Francisco Museum of Modern Art, Albright-Knox Art Gallery, and George
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and spawned the alternative spaces
Hallwalls and Center for Exploratory and Perceptual Arts (CEPA), each of which held exhibitions of her early painted self-portraits. In 1979, after receiving a CAPS grant, she moved to New York City and rented a studio in Soho. She was one of the first artists
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described her self-portraits and portraits as "vastly underrated" work that proposed a merging of human form with metaphysical energies, made visible on the photographs through painted marks, light pens, and superimposed psychedelic and geometric patterns. Her early works were black-and-white,
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critic Leah Ollman describes her photography as "inventive, physically involving, process-oriented work" and her recent photograms as "performative sculptures enacted in the gestational space of the darkroom" whose pure hues, shadows and color shifts deliver "optical buzz and conceptual bang".
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In 2019, the Royal
Photographic Society (London) named Carey one of its "Hundred Heroines" commemorating international women photographers. Carey has also received awards from the Polaroid Artists Support Program (1983-8, 2002), Connecticut Commission on the Arts (1998, 2001), New York State
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In 2000, she began producing brightly hued photograms whose series titles reflected the objects or materials she used to interrupt or strike the paper (e.g., "Push Pins", "Penlights") or referenced visual phenomena, such as afterimages ("Blinks"). Reviewers describe her color photograms as
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Carey began creating cameraless photograms in 1989, which specifically explored abstraction and conceptual issues at the basis of photography, through a process embracing chance, improvisation, and risk. Photograms date back to the dawn of photography, in work by mid-19th-century artists
243:(2006), and the Amon Carter Museum (2018). She is also included in the international traveling exhibit, "The Polaroid Project: At the Intersection of Art and Technology" (2017–20). Since 1991, Carey has divided time between living and working in Hartford, Connecticut and New York City.
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identity of its subjects; rather, Carey or others served as de-individualized stand-ins for the human spirit, seamlessly disappearing into and merging with Op Art and Pop patterns evoking technology, biology, consciousness, time, and perhaps artificial intelligence. Critics such as
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suggested that the specific qualities of the patterns opened interpretive possibilities and raised notions of the self, variously, as infinitely complex, unknowable, fractured, constructed from readymade cultural forms, or spiritually seeking.
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critic
William Zimmer wrote that her work "aspires to be nothing less than a reinvention, or at least a reconsideration, of the roots or the essence of photography." In addition to her art career, Carey has also been a longtime educator at the
204:'s program to sponsor artists interested in exploring the potential of its "instant film"; the technology played a key role in her Neo-Geo, post-psychedelic self-portraits of the 1980s and her later "Photography Degree Zero" abstract work.
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The resulting scroll-like, unframed panels feature conical loops or tongues of single colors plus black, white or gray (in panel groupings, multiple colors occur in a single work); they have introduced a unique form to the medium, the
296:. Carey's art can be organized into three major categories: early self-portraits and portraits; abstract photograms she collectively titles, "Struck by Light"; and abstract, Polaroid-based works she titles, "Photography Degree Zero".
367:"hyper-saturated, jewel-toned abstraction" suggesting light candies, paper diamonds or asymmetrical kaleidoscopes, in which color is the subject itself; they compare their fluid soaks of color to the stain painting of
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s gray slabs as achieving the effect of relief sculpture. Her later "Pulls" and related series often incorporate startling flares or "waterfalls" of bright, sometimes overlapping color against blazing white grounds.
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383:. Considering them conceptually, Leah Ollman wrote, "Throughout this body of work, the paper's surface does double duty as object and subject, material and image. The literal and the abstract merge."
109:(born 1952) is an American artist known for conceptual photography exploring non-traditional approaches involving process, exposure, and paper. Her work has ranged from painted and multiple-exposure,
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145:, and many commercial galleries. Her work is in numerous museum collections, including those of the Metropolitan Museum of Art, Whitney Museum of American Art, Los Angeles County Museum of Art,
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gender-specific images whose dramatic poses and lighting and expressive marks suggested emotional states of pain, vulnerability or self-assurance and organic, ritualistic scenarios.
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Carey has written about and researched art-related topics such as the history of photography (including the first women photographer, Anna Atkins), color theory, and
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s Barry
Schwabsky wrote that unlike some abstract photography, this work "represents a real disruption of the assumed link between photographic image and referent."
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Eastman Museum, as well as in many private collections. Her work has also been included in several art historical books, including
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reviews said exalted in new techniques as they moved further into abstraction toward "a kind of photographic minimalism".
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2061:(William A. Ewing and Barbara P. Hitchcock eds.), University of California Press, 2017. Retrieved June 13, 2019.
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1027:(Susan Cross, Denise Markonish eds.), New Haven, CT: Yale University Press, 2009. Retrieved June 13, 2019.
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1146:"This Dazzling Polaroid Exhibit Shows How Tech Companies Can Learn The Art Of Disruption From Artists,"
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427:(1996), which expressed grief over family losses; William Zimmer described the diverse textures of
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Carey has taught photography at the
Hartford Art School from 1985 to 2019. She has also taught at
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359:, 1995). She began with black-and–white photograms, before shifting to muted color images that
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398:, Polaroid 20 x 24 color positive—unique, triptych, 80" x 22" (each)/80" x 66" (all), 2019.
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2022:"Scholarly Exhibition Explores the Pioneering Role of Women Using Color in Photography,"
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Hirsch, Robert. , Burlington, MA: Elsevier/Focal Press, 2018. Retrieved June 13, 2019.
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333:, Color (C-Print) unique photogram, 24" x 20", 2013. Private Collection, New York, NY.
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by Mary-Kay
Lombino and Peter Buse, New York: Prestel, 2013. Retrieved June 13, 2019.
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1996:" University of Hartford art professor named one of world's best 100 photographers,"
1722:"A Brief History of Polaroids in Art, from Ansel Adams to Andy Warhol (and Beyond),"
749:, Fort Worth, TX: Amon Carter Museum of American Art, 2017. Retrieved June 13, 2019.
527:, which focused on her discovery of Ray's "hidden" signature in the 1935 photograph
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Fleischer, Donna. "The Black Swans of Ellen Carey: Of
Necessary Poetic Realities,"
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125:. Carey's sixty one-person exhibitions have been presented at museums, such as the
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HAFNY.org (Humble Arts Foundation New Photography), 2017. Retrieved June 13, 2019.
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and minimal Polaroid images from the 1990s onward, which critics often compare to
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153:(London) "Hundred Heroines", recognizing leading women photographers worldwide.
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During her first decade in New York, Carey was featured in prominent shows at
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Federation for Artists (1986), Massachusetts Council on the Arts (1986), and
254:, Polaroid 20 x 24 color positive print, 24" x 20", 1995. Private Collection.
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828:, Willimantic, CT: Eastern Connecticut State University Akus Gallery, 2014.
644:, Willimantic, CT: Eastern Connecticut State University Akus Gallery, 2014.
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The Polaroid Book: Selections from the Polaroid Collections of Photography
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585:"Ellen Carey's photograms turn plain paper into a topographic head trip,"
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149:, and Smithsonian American Art Museum. In 2019, she was named one of the
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1117:, Buffalo, NY: Albright-Knox Art Gallery, 2012. Retrieved June 13, 2019.
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A Century of Colour Photography: From the Autochrome to the Digital Age
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A Century of Colour Photography: From the Autochrome to the Digital Age
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Austin, TX: University of Texas Press, 2013. Retrieved June 13, 2019.
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for the Visual Arts towards a retrospective exhibition/tour/book at
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or the lozenges and plumes of color-field painters Morris Louis and
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self-portraits beginning in the late 1970s to cameraless, abstract
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Langley, Edwina. "How the Polaroid Camera Seduced the Art World,"
227:, the SĂŁo Paulo Biennale ("The Heroic Figure", traveling 1984-6),
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The Polaroid Project: At the Intersection of Art & Technology
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The Polaroid Project: At the Intersection of Art & Technology
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Akus Gallery, Eastern Connecticut State University. "Biography,"
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The Polaroid Project: At the Intersection of Art & Technology
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1419:" These Abstract Photographers Redefine Perception of the Real,"
1325:, University of California Press, 2017. Retrieved June 13, 2019.
761:
Rosoff, Patricia. "A Fresh Look at the Mystery of Photography,"
1949:"ELLEN CAREY: Mirrors of Chance, la photographie expérimentale"
1907:, North Adams, MA: Tupelo Press, 2012. Retrieved June 13, 2019.
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Miller-Keller, Andrea. "Whitney Biennial Curators Interview,"
1133:"The Polaroid Years: Instant Photography and Experimentation,"
1877:, London: Carlton Books Ltd., 2009. Retrieved June 13, 2019.
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Carey was born in New York City in 1952. She studied at the
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The Polaroid Years: Instant Photography and Experimentation
1973:"Hundred Heroines: Celebrating Women in Photography Today,"
1892:, New York: Abbeville Press, 1994. Retrieved June 13, 2019.
976:"Warhol Foundation Announces Spring 2017 Grant Recipients,"
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The Polaroid Years: Instant Photography and Experimentation
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and a writer and researcher on the history of photography.
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The Edge of Vision: The Rise of Abstraction in Photography
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Westfall, Stephen. "Ellen Carey at ICP and Simon Cerigo,"
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The Edge of Vision: The Rise of Abstraction in Photography
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Wish You Were Here: The Buffalo Avant-Garde in the 1970s
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and its relation to gender. She has published essays on
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Critics suggest they recall the monochrome "swoops" of
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Hatt, Etienne. "The Unbearable Lightness. The 1980s,"
1750:"Anchoring Perception to the Reality of Experience,"
1573:"Ellen Carey and The World of Color in Photography,"
1472:"'The Colt Four' of Hartford: From Guns to Brushes,"
1377:, New York: Aperture, 2013. Retrieved June 13, 2019.
1922:, New York: Taschen, 2008. Retrieved June 13, 2019.
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Innocent Eye: A Passionate Look at Contemporary Art
1209:, November 1982, p. 77–8. Retrieved June 13, 2019.
826:Let There Be Light: The Black Swans of Ellen Carey
642:Let There Be Light: The Black Swans of Ellen Carey
1319:Ewing William A. and Barbara P. Hitchcock (eds.)
1220:"Artists' Works Are at the Center of the Action,"
1135:New York: Prestel, 2013. Retrieved June 13, 2019.
239:(2002), Wadsworth Atheneum Museum of Art (2004),
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546:, the International Center for Photography, and
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1933:"Books: Photographs In the Tradition of Goya,"
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458:Light and Lens: Photography in the Digital Age
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300:Early self-portraits and portraits (1976–1988)
1938:, February 17, 1978. Retrieved June 13, 2019.
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1688:, December 15, 2018. Retrieved June 13, 2019.
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1507:Schwabsky, Barry. "Ellen Carey at Art City,"
796:Rexer, Lyle. "Ellen Carey at Real Art Ways,"
727:, December 23, 1994. Retrieved June 13, 2019.
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739:Mirrors of Chance: Photograms by Ellen Carey
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1614:"Abstraction Returns to Haunt Photography,"
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304:In a review of Carey's 1987 survey at ICP,
2055:Carey, Ellen. "Photography Time Zero," in
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1660:"Pushing the Outer Limits of Photography,"
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2157:21st-century American women photographers
2147:20th-century American women photographers
2092:Ellen Carey interview on Polaroid Process
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2040:Carey, Ellen. "In Hamlet's Shadow," in
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1859:Color: American Photography Transformed
1699:"Photography Degree Zero: 1996 – 2019,"
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1489:Caley, Shaun. "Ellen Carey, Art City,"
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474:Color: American Photography Transformed
185:State University of New York at Buffalo
48:State University of New York at Buffalo
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1039:Carey, Ellen. "At Play with Man Ray,"
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847:, Collection. Retrieved June 13, 2019.
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779:"Renaissance in an Industrial Shadow,"
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523:), Man Ray ("At Play with Man Ray" in
338:"Struck by Light": Photograms (1989– )
211:("The Altered Photograph", 1979), the
1001:, Directory. Retrieved June 13, 2019.
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893:Collections. Retrieved June 13, 2019.
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694:"Ellen Carey, Ricco/Maresca Gallery,"
550:, and been an artist-in-residence at
487:In 2017, Carey received funding from
1174:"Ellen Carey/M+B, Los Angeles, USA,"
919:
736:Amon Carter Museum of American Art.
375:and the painterly, draped fabric of
187:(MFA, 1978), which included artists
2162:21st-century American photographers
2152:20th-century American photographers
1965:
1886:Rosenbloom, Naomi and Nancy Grubb.
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1337:Brown, Susan Rand. " Ellen Carey,"
981:
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831:
617:"A Family Album of Empty Pictures,"
233:Center for Photography at Woodstock
131:International Center of Photography
13:
1708:Artworks. Retrieved June 13, 2019.
1649:Artworks. Retrieved June 13, 2019.
1393:"10 Artworks to Collect at AIPAD,"
1131:Lombino, Mary-Kay and Peter Buse.
896:
882:Los Angeles County Museum of Art.
403:"Photography Degree Zero" (1996– )
237:Museum of Contemporary Photography
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127:Amon Carter Museum of American Art
78:, Polaroid Artists Support Program
14:
2173:
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1834:Artists. Retrieved June 13, 2019.
1274:"Feminist Artworks With an Edge,"
939:Artists. Retrieved June 13, 2019.
928:Smithsonian American Art Museum.
916:Artists. Retrieved June 13, 2019.
870:Artists. Retrieved June 13, 2019.
2132:Kansas City Art Institute alumni
2112:Photographers from New York City
1971:The Royal Photographic Society.
1889:A History of Women Photographers
1599:Armstrong, Bill. "Ellen Carey,"
951:The Royal Photographic Society.
859:Whitney Museum of American Art.
493:The Burchfield Penney Art Center
482:A History of Women Photographers
135:Wadsworth Atheneum Museum of Art
16:American artist and photographer
1941:
501:National Endowment for the Arts
177:Art Students League of New York
76:National Endowment for the Arts
1197:"Public Vision/White Columns,"
529:Space Writings (Self-Portrait)
235:(1996), Real Art Ways (2000),
1:
2117:20th-century American artists
1522:"Photographs With Surprises,"
722:"Art in Review, Ellen Carey,"
557:
137:, alternative spaces such as
2127:University at Buffalo alumni
2075:Ellen Carey official website
840:Metropolitan Museum of Art.
179:(1970) before attending the
7:
1686:Wall International Magazine
451:Recognition and collections
10:
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2122:20th-century photographers
2107:21st-century photographers
1985:. Retrieved June 13, 2019.
1823:Art Institute of Chicago.
1543:"Ellen Carey in Berkeley,"
1237:Aletti, Vince. "Choices,"
978:. Retrieved June 13, 2019.
965:. Retrieved June 13, 2019.
489:The Andy Warhol Foundation
151:Royal Photographic Society
1511:, September/October 1986.
221:Albright-Knox Art Gallery
181:Kansas City Art Institute
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52:Kansas City Art Institute
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21:
1603:, Spring 2015, p. 61–70.
1069:Retrieved June 13, 2019.
843:Untitled (Self-Portrait)
672:, November 1987, p. 181.
531:), and her own work (in
349:William Henry Fox Talbot
1779:"The Indecisive Image,"
1674:Vasseur-Lamine, LeĂŻla.
1553:San Francisco Chronicle
554:in the United Kingdom.
552:Loughborough University
258:
36:New York City, New York
1083:"Wish You Were There,"
503:(1984), among others.
484:(1994), among others.
399:
334:
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241:Lyman Allyn Art Museum
229:The Alternative Museum
103:
2086:Ellen Carey interview
2080:Ellen Carey interview
1697:Ellen Carey website.
1638:Ellen Carey website.
1493:, Summer 1986, p. 72.
1272:Genocchio, Benjamin.
1017:Sol LeWitt: 100 Views
990:Hartford Art School.
521:Sol LeWitt: 100 Views
519:("Color Me Real", in
507:Research and academia
393:
328:
249:
97:
1916:Hitchcock, Barbara.
1676:"Mirrors of Chance,"
1015:"Color Me Real," in
537:The Polaroid Project
202:Polaroid Corporation
123:color-field painting
1748:Harrison, Helen A.
1447:, November 2, 2016.
1391:Gotthardt, Alexxa.
1293:Blay, Christopher.
1241:, December 8, 1987.
1172:Griffin, Jonathan.
1081:Strickland, Carol.
845:, 1987, Ellen Carey
765:, December 9, 2004.
381:John Singer Sargent
369:Helen Frankenthaler
331:Dings & Shadows
225:Bronx Museum of Art
165:Hartford Art School
2027:2019-07-09 at the
2001:2019-05-31 at the
1978:2018-12-21 at the
1936:The New York Times
1901:Rosoff, Patricia.
1830:2019-07-09 at the
1807:2019-07-09 at the
1784:2019-07-09 at the
1753:The New York Times
1727:2019-07-09 at the
1704:2019-07-20 at the
1681:2019-07-09 at the
1645:2019-07-21 at the
1640:"Struck By Light,"
1624:The New York Times
1619:2019-07-09 at the
1578:2019-07-09 at the
1548:2019-07-09 at the
1525:The New York Times
1475:The New York Times
1424:2019-07-09 at the
1398:2019-07-09 at the
1373:2015-12-27 at the
1346:2019-07-09 at the
1300:2019-04-14 at the
1277:The New York Times
1258:The New York Times
1223:The New York Times
1202:2019-07-09 at the
1179:2019-07-09 at the
1151:2019-07-09 at the
1113:2019-07-09 at the
1104:Pesanti, Heather.
1088:2019-07-09 at the
1065:2019-07-09 at the
1023:2016-02-23 at the
997:2019-07-09 at the
958:2019-07-09 at the
935:2019-04-07 at the
912:2017-03-20 at the
889:2019-04-07 at the
866:2019-04-07 at the
782:The New York Times
745:2019-07-09 at the
725:The New York Times
699:2019-07-09 at the
692:Schwabsky, Barry.
620:The New York Times
590:2019-04-14 at the
533:The Polaroid Years
400:
335:
256:
104:
1871:Roberts, Pamela.
1720:Indrisek, Scott.
1663:New York Magazine
1612:Grundberg, Andy.
1571:Barcio, Phillip.
1520:Zimmer, William.
1470:Zimmer, William.
1253:Grundberg, Andy.
1239:The Village Voice
1218:Grundberg, Andy.
1144:Keats, Jonathon.
905:Centre Pompidou.
763:Hartford Advocate
615:Zimmer, William.
595:Los Angeles Times
421:Birthday Portrait
270:Neo-Expressionism
200:invited into the
155:Los Angeles Times
92:
91:
2169:
2062:
2053:
2047:
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2020:Feinstein, Jon.
2018:
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310:Stephen Westfall
111:Polaroid 20 x 24
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2029:Wayback Machine
2019:
2012:
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1930:
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1417:Kordic, Angie.
1416:
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1390:
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1363:
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1340:Art New England
1336:
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582:
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495:(Buffalo, NY).
453:
437:Ellsworth Kelly
425:Family Portrait
405:
340:
319:Barry Schwabsky
302:
294:performance art
261:
173:
171:Life and career
147:Centre Pompidou
39:
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2069:External links
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2010:
1994:Dunne, Susan.
1987:
1964:
1940:
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1909:
1894:
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1849:
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1825:"Ellen Carey,"
1816:
1802:"Ellen Carey,"
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1777:Bryant, Eric.
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1255:"Photography,"
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1195:Linker, Kate.
1188:
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1097:
1093:Art in America
1071:
1060:"Ellen Carey,"
1045:
1029:
1013:Carey, Ellen.
1003:
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967:
953:"Ellen Carey,"
941:
930:"Ellen Carey,"
918:
907:"Ellen Carey,"
895:
884:"Ellen Carey,"
872:
861:"Ellen Carey,"
849:
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798:Art in America
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583:Ollman, Leah.
562:
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548:Queens College
508:
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452:
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429:Mourning Wall'
404:
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361:New York Times
339:
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306:Art in America
301:
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286:Conceptual art
260:
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197:Charles Clough
172:
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66:Conceptual art
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392:
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268:and Neo-Geo,
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250:Ellen Carey,
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217:White Columns
214:
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143:Real Art Ways
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100:Self-Portrait
98:Ellen Carey,
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2005:
1990:
1982:
1967:
1956:. Retrieved
1952:
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1056:Underexposed
1055:
1043:, Fall 2011.
1040:
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842:
825:
800:, June 2001.
797:
781:
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738:
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724:
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619:
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544:Bard College
541:
536:
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497:
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480:(2009), and
477:
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420:
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409:
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373:Morris Louis
365:
360:
357:Color Theory
356:
351:—and later,
341:
330:
315:
305:
303:
262:
252:Color Theory
251:
206:
193:Robert Longo
174:
159:
154:
106:
105:
99:
2137:1952 births
1953:ArtfixDaily
992:Ellen Carey
441:Larry Poons
423:(1997) and
345:Anna Atkins
107:Ellen Carey
87:Ellen Carey
62:Photography
23:Ellen Carey
2101:Categories
1958:2022-05-05
558:References
517:Sol LeWitt
377:Frans Hals
282:Minimalism
274:Surrealism
213:New Museum
133:(ICP) and
119:photograms
1812:Widewalls
1601:Dear Dave
1509:Artscribe
1491:Flash Art
1429:Widewalls
445:Artforum'
139:Hallwalls
44:Education
2082:on Museé
2025:Archived
1999:Archived
1976:Archived
1828:Archived
1805:Archived
1782:Archived
1766:ArtForum
1725:Archived
1702:Archived
1679:Archived
1643:Archived
1617:Archived
1583:IdeelArt
1576:Archived
1546:Archived
1445:ArtPress
1422:Archived
1396:Archived
1371:Archived
1344:Archived
1298:Archived
1207:Artforum
1200:Archived
1177:Archived
1149:Archived
1111:Archived
1086:Archived
1063:Archived
1041:Aperture
1021:Archived
995:Archived
956:Archived
933:Archived
910:Archived
887:Archived
864:Archived
743:Archived
704:Artforum
697:Archived
588:Archived
525:Aperture
476:(2013),
472:(2013),
468:(2013),
464:(2017),
460:(2018),
419:(2000),
413:parabola
290:feminism
1845:AnOther
1789:ARTnews
1295:"Trio,"
353:Man Ray
308:critic
115:Neo-Geo
83:Website
1184:Frieze
1156:Forbes
266:Op Art
223:, the
219:, the
72:Awards
1732:Artsy
1403:Artsy
535:and
379:and
371:and
347:and
292:and
278:Dada
276:and
259:Work
195:and
141:and
38:, US
32:1952
29:Born
209:PS1
2103::
2013:^
1951:.
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288:,
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50:,
1961:.
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