Wynn Bullock



Wynn Bullock (April 18, 1902 – November, 16, 1975) was born in Chicago, Illinois, and raised in South Pasadena, California. As a boy, his passions were singing and athletics (football, baseball, swimming, and tennis). After high school graduation, he moved to New York to pursue a musical career and was hired as a chorus member in Irving Berlin's Music Box Revue. He occasionally sang the primary tenor role when headliner John Steele was unable to appear and then was given a major role with the Music Box Review Road Company. During the mid-1920s, he furthered his career in Europe, studying voice and giving concerts in France, Germany, and Italy. While living in Paris, he became fascinated with the work of the Impressionists and post-Impressionists. He then discovered the work of Man Ray and Lazlo Moholy-Nagy and experienced an immediate affinity with photography, not only as an art form uniquely based on light, but also as a vehicle through which he could more creatively engage with the world. He bought his first camera and began taking pictures. 


During the Great Depression of the early 1930s, Bullock stopped his European travels and settled in West Virginia to manage his first wife's family business interests. He stopped singing professionally, completed some pre-law courses at the state university, and continued to take photographs as a hobby. In 1938, Bullock moved his family back to Los Angeles and enrolled in law school at the University of Southern California where his mother (California's first woman jurist) had studied law. Completely dissatisfied after a few weeks, he left USC and became a student of photography at the nearby Art Center School. 


From 1938 to 1940, Bullock became deeply involved in exploring alternative processes such as solarization and bas relief. After graduation from Art Center, Bullock's experimental work was exhibited in one of L.A. County Museum's early solo photographic exhibitions. During the early 1940s, Bullock worked as a commercial photographer and then enlisted in the Army. Released from the military to photograph for the aircraft industry, he was first employed at Lockheed and then headed the photographic department of Connors-Joyce until the end of the war. Remarried, and with a new daughter, Bullock traveled throughout California from 1945 to 1946, producing and selling postcard pictures while co-owning a commercial photographic business in Santa Maria. He also worked on developing a way to control the line effect of solarization for which he later was awarded two patents. In 1946, he settled with his family in Monterey where he had obtained the photographic concession at the Fort Ord military base. He left the concession in 1959, but continued commercial free-lance work until1968.


A major turning point in Bullock's life as a creative photographer occurred in 1948 when he met Edward Weston. Inspired by the power and beauty of Weston's prints, he began to explore "straight" photography for himself. Throughout the decade of the 1950s, he devoted himself to developing his own vision, establishing deep, direct connections with nature. A lifelong learner, he also read widely in the areas of physics, General Semantics, philosophy, psychology, eastern religion, and art. Studying the work of such people as Einstein, Korzybski, Whitehead, Russell, LaoTzu, and Klee, he kept evolving his own dynamic system of principles and concepts that both reflected and nurtured his creative journey.


In the mid-1950s, Bullock's artistry came into the public spotlight when Edward Steichen chose two of his photographs to include in the 1955 "Family of Man" exhibition at the Museum of Modern Art. At the Corcoran Gallery in Washington, DC, his photograph "Let There Be Light," was voted the most popular of the show. The second, "Child in Forest," became one of the exhibition's most memorable images. By the end of that decade, Bullock's work was being featured in many exhibitions and publications worldwide. 


During the early 1960s, Bullock departed from black and white imagery and produced a major body of work that he referred to as "color light abstractions." For him, these photographs represented an in-depth exploration of light, manifesting his belief that light is a great force at the heart of all being, "perhaps," as he said, "the most profound truth in the universe." Although he was tremendously excited about this work, it proved to be ahead of its time, and to this day, it remains largely unknown.


In the mid-1960s, frustrated by the limitations of color printing technology, Bullock returned to making black and white photographs, continuing to expand his vision to create innovative images that reflected his deeply philosophical nature. Differentiating what he termed "reality," the visible and the known, from "existence," the underlying truth of things, he was ceaseless in his attempts to expand his own faculties of perception and understanding so he could come ever closer in his experiences to the essence of things. Finding the means to more fully evoke that essence was also a key part of his quest. Although he included several different alternative processes (extremely long time exposures, multiple images, upside-down and negative printing) in his repertoire of techniques, each was always used in the service of symbolizing new ways of relating to and knowing the world. As he once said, "Searching is everything – going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you." 


In the early 1970s, Bullock started on a new leg of his creative journey, one that he found completely absorbing and deeply satisfying but which was cut short by incurable cancer. Many of his photographs from that period reveal light emanating from within the heart of things, life glowing and pulsing with energy and vitality. Other photographs are of natural forms that depict or suggest universal human qualities, humanity "deeply embedded in" and re-united with nature.


Throughout his career, Bullock was an active lecturer, workshop leader, and teacher, generously giving of himself to fellow seekers. As a master photographer, Bullock was one of five artists whose archives established the University of Arizona's Center for Creative Photography. His work may also be found in the permanent collections of over 90 major institutions throughout the world as well as in numerous publications. As a person who asked the deepest questions about life and the universe and who used photography as a symbolic language to further as well as document his search for meaning, he left a legacy rich and vital in its power to inspire and transform.


Family: Bullock married Mary Elizabeth McCarty in 1925 and the marriage ended in divorce in 1941. They had two children: Mary Wynne (Mimi) (b. 1930) and George (b. 1935, d. 1942). He married Edna Jeanette Earle in 1943 and they had two daughters: Barbara Ann (b. 1945) and Lynne Marie (b. 1953). Mimi, Edna, Barbara, and Lynne each appear in images made during the 1950s. Edna took up photography after Bullock died and enjoyed a twenty-year career as an artist before she died in 1997. Barbara formed collaborative relationships with both her parents during their lifetimes and has written extensively on their work. 


Education: Bullock took courses at Columbia University, 1925, and University of West Virginia, mid-1930s; attended and graduated from Art Center School in Los Angeles, 1938-1940. He was a lifelong student of philosophy, physics, general semantics, psychology, theology, spirituality, and art.


Influences: Impressionist and post-Impressionist paintings stimulated Bullock's initial interest in the visual arts. The photographs of Man Ray and László Maholy-Nagy influenced Bullock's early experimental work as did Art Center School professor, Edward Kaminski. Although Bullock enjoyed close associations with Edward Weston, Imogen Cunningham, Ansel Adams, Ruth Bernhard, and other prominent west coast photographers, he said, "Theoretical scientists who probe the secrets of the universe and philosophers who seek answers to existence, as well as painters such as Paul Klee who find the thoughts of men of science compatible with art, influence me far more that most photographers." 


Some Noteworthy Accomplishments: Bullock obtained patents in the U.S., Canada, and Great Britain for a "Photographic Process for Producing Line Image" in the late 1940s. He was granted a second U.S. patent on the "Methods and Means for Matching Opposing Densities in Photographic Film" in the early 1950s. In 1957, he was honored with a medal from the Salon of International Photography and, throughout the 1960s, he received several awards from various professional photographic organizations. In 1968, Bullock became a trustee and chairman of the exhibition committee during the formative years of Friends of Photography in Carmel, California. Along with Ansel Adams, Harry Callahan, Aaron Siskind, and Frederick Sommer, Bullock became part of the founding group of photographers whose archives established the Center for Creative Photography at the University of Arizona in 1975. Bullock taught advanced photography courses at the Institute of Design in Chicago during Aaron Siskind's sabbatical and at San Francisco State College at the invitation of John Gutmann. He was a guest instructor for the Ansel Adams Yosemite Workshops. Throughout the 1960s and early 1970s, he lectured widely, led photographic workshops, and participated in many seminars and symposia on various topics and issues in photography.




Selected exhibitions and dates:


2010   Center for Photographic Art, Carmel, CA 

           (solo; first showing dedicated to new prints of Bullock’s Color Light Abstractions)

2009   Center for Photographic Art, Carmel, CA

           Del Mesa Clubhouse Gallery, Carmel, CA (solo; first show to display B&W work and new CLAs together)

           Lumiere Gallery, Atlanta, GA, (three-person exhibition which introduced new CLA prints)

           See+ Art Space/Gallery, Beijing, China (with Harold Feinstein; first Bullock exhibition in mainland China)

2008   Center for Creative Photography, Tucson, AZ

           Chiba City Museum of Art, Chiba, Japan  

           Museum of Photographic Art, San Diego, CA 

           Tokyo Fuji Art Museum, Tokyo, Japan

           Yale University Art Gallery, New Haven, CT 

2007   Photo Gallery International, Tokyo, Japan (solo)

2006   Photo Gallery International, Tokyo, Japan

2005   Alan Klotz Gallery, New York, NY   

2004   Houston Museum of Fine Arts, Houston, TX  

2003   Robert Mann Gallery, New York, NY

2002   Art Institute of Chicago, Chicago, IL

    Laurence Miller Gallery, New York, NY (solo)

    Pace/McGill Gallery, New York, NY

    Scott Nichols Gallery, San Francisco, CA (solo)

           Stephen Daiter Gallery, Chicago, IL (solo)

           Whitney Museum, New York, NY   2001    

2001    Laurence Miller Gallery, New York, NY (solo)

1999    Fresno Art Museum, Fresno, CA (solo)

            Kiyosato Museum of Photographic Arts, Yamanashi, Japan (solo)

1995    Centre Georges Pompidou, Paris, France

1994    Ansel Adams Gallery, Pebble Beach, CA (solo)

     Photo Gallery International, Tokyo, Japan (solo)

1993    Museum of Art, University of Oregon, Eugene, OR (with Edna Bullock) 

            Talbot Rice Gallery, Edinburgh, Scotland (Fotofeis 93 exhibit with Edna Bullock)

1992    Center for Photographic Art, Carmel, CA  (solo)

1990    Foto Galerie, Chinoteague, VA (with Edna Bullock)

            Oakland Museum, Oakland, CA

1989    Expo 90 Photo Museum, Tokyo, Japan

            Shoto Museum of Art, Tokyo, Japan

            The Photographic Center, Carmel, CA (solo)

1988    La Reverbere Galerie Photographique, Lyon, France (solo)

           Musee Saint Pierre, Lyon, France

           Taiwan Museum of Art, Taichung, Taiwan

1987    Los Angeles County Museum of Art, Los Angeles, CA (traveling exhibition)

            Olive Hyde Art Gallery, Fremont, CA (with Edna Bullock)

1986    Hood Museum of Art, Dartmouth College, Hanover, NH

            Monterey Museum of Art, Monterey, CA

            Photo Gallery International, Tokyo, Japan (with Edward Steichen)

1985    Bank of Arizona, Phoenix, AZ (solo)

            Barbican Art Gallery, London, England (traveling exhibition)

            Photo Gallery International, Tokyo, Japan (with Ansel Adams & Edward Weston)                           

            Vision Gallery, San Francisco, CA (with Edna Bullock)

1984    Friends of Photography, Carmel, CA

            San Francisco Museum of Modern Art (traveling exhibition)

1983    Montana Historical Society, Helena, MT (with Ansel Adams and Edward Weston)

            Neikrug Gallery, New York, NY (with Edna Bullock)

            Santa Fe Center for Photography, Santa Fe, New Mexico (with Edna Bullock)

1982    Exposures Gallery, Libertyville, IL (with Edna Bullock)

            Jeb Gallery, Providence, RI (with Edna Bullock) 

            George Eastman House, Rochester, NY    

            Photography West Gallery, Carmel, CA (solo)

1981    Edwynn Houk Gallery, Chicago, IL

           Focus Gallery, San Francisco, CA (with Edna Bullock)

            Shadai Gallery, Tokyo Institute of Polytechnics, Tokyo, Japan (solo)

1980    Collector’s Gallery, Pacific Grove, CA (with Edna Bullock)

            International Center of Photography, New York, NY (traveling exhibition)

            Israel Museum, Jerusalem, Israel

            Metropolitan Museum and Art Center, Miami, FL

            Photo Gallery International, Tokyo, Japan (solo)

1979    Photo Gallery International, Tokyo, Japan

            Worcester Art Museum, Worcester, MA (solo)

1978    Galerie Fiolet, Amsterdam, Netherlands (solo)

            University of Wisconsin, Milwaukee, WI

1977    Chicago Center for Contemporary Photography, Chicago, IL

            Photographers’ Gallery & Workshop, South Yarra, Australia (solo)

            Silver Image Gallery, Ohio State University, Columbus, Ohio (solo)

1976    Art Institute of Chicago, Chicago, IL (solo)

            de Saisset Art Gallery, University of Santa Clara, Santa Clara, CA (solo)

            Monterey Peninsula Museum of Art, Monterey, CA (solo)

            Metropolitan Museum of Art, New York, NY (solo)

            San Francisco Museum of Art, San Francisco, CA (solo)

1975    Center for Photographic Studies, Louisville, KY (solo)

            Royal Photographic Society, London, England (solo)

            Shunju Gallery, Tokyo, Japan (solo)

            Tokyo University, Tokyo, Japan (solo)  

            Victoria and Albert Museum, London, England (traveling exhibition)            

1974    Bucharest International Fair, Bucharest, Romania

            Focus Gallery, San Francisco, CA (solo)

            Galerie du Chateau d’Eau, Toulouse, France (solo)

            Madison Art Center, Madison, WI (solo)

            Museum of Art, University of Oregon, Eugene, OR (solo)

            Whitney Museum of American Art, New York, NY

1973    Bibliotheque Nationale, Paris, France (solo)

            Light Gallery, New York, NY (solo)

           Museo Civico di Torino, Turin, Italy

           Ohio University, Athens, OH (solo)

           Pasadena Museum of Art, Pasadena, CA (solo) 

           Pasadena Museum of Art, Pasadena, CA (with Ansel Adams and Edward Weston)

           University of Colorado, Boulder, CO (solo)

1972    de Saisset Gallery and Museum, University of Santa Clara, Santa Clara, CA (solo)

            Information Agency, Washington, D.C. (solo traveling exhibition)

            Pennsylvania State University, University Park, PA (solo)

1971    Columbia College, Department of Art, Chicago, IL (solo)

            Friends of Photography, Carmel, CA (solo)

           Hiram College, Hiram, OH (solo)

           Maryland Institute of Art, Baltimore, MD (solo)

           Museum of New Mexico, Albuquerque, NM (solo)

           University of Georgia, Athens, GA (solo)

1970    Amon Carter Museum of Western Art, Fort Worth, TX (solo)

           Minneapolis Institute of Arts, Minneapolis, MN (solo)

           Rice University, Houston, TX (solo)

           Santa Barbara Museum of Art, Santa Barbara, CA (solo)

           Temple University, Philadelphia, PA (solo)

1969    Institute of Design, Chicago, IL (solo)

           San Francisco Museum of Art, San Francisco, CA (solo)

           Witkin Gallery, New York, NY (solo)

1968    Camera Work Gallery, Newport Beach, CA (solo)

            Canton Jewish Center, Canton, OH (solo)

            De Cordova Museum, Lincoln, MA 

           Exchange National Bank, Chicago, IL

           Rhode Island School of Design, Providence, RI (solo)

            University of St. Thomas, Media Center, Houston, TX (solo)

1967    Focus Gallery, San Francisco, CA (co-sponsored by Oakland Art Museum)

            Jacksonville Museum of Art, Jacksonville, FL (solo)

            Reed College, Portland, OR (solo)

1966    Cuyahoga Community College, Cleveland, OH (solo)

            Foothill College, Los Altos, CA (solo)

1965    Yale University Art Gallery, New Haven, CT

1964    Coast Gallery, Big Sur, CA (with Walter Chappell)

            George Eastman House Museum at the New York State Exposition, Syracuse, NY

            University of Florida, Gainesville, FL (solo)

1963    Fresno State College, Fresno, CA

            Graduate School of Design, Harvard University, Cambridge, MA

            Metropolitan Museum of Art, New York, NY

            Minneapolis Institute of Arts, Minneapolis, MN

           Toren Gallery, San Francisco, CA (solo)

1962    Carl Siembab Gallery, Boston, MA (solo)

           Cheney Cowles Memorial Art Gallery, Spokane, WA (solo)

           De Cordova Museum, Lincoln, MA

           Museum of Modern Art,  New York, NY (“Towards Abstraction” slide exhibit)

           Photo Cine Club du Val de Bievre, Paris, France

            San Francisco Museum of Art, San Francisco, CA

1961    Bibliotheque Nationale, Paris, France

           Fine Arts Galerie Pierre Vanderborght, Brussels, Belgium (solo)

           Grand Palais des Champs Elysees, Paris, France

           Kalamazoo Art Center, Kalamazoo, MI (with Aaron Siskind and David Vestal)

1960    Metropolitan Museum of Art, New York, NY

            Museum of Modern Art, New York, NY

           Pasadena Museum of Art, Pasadena, CA

           Princeton University, Princeton, NJ (solo)

1959    George Eastman House, Rochester, NY

            Indiana University, Bloomington, IN

            Limelight Gallery, New York, NY

1958    Art Center of Czechoslovakia, Prague, Czechoslovakia (solo)

            Museum of Modern Art, New York, NY

1957    Oakland Public Museum, Oakland, CA (solo)

           Photo Cine Club du Bal de Bievre, France

           Several venues in southern and eastern Africa (solo)

1956    George Eastman House, Rochester, NY  (solo)

           M.H. de Young Museum, San Francisco, CA (solo)

1955    Limelight Gallery, New York, NY (solo)

            Musee d’Art Moderne de Paris, Paris, France

            Museum of Modern Art, New York, NY (The Family of Man exhibition that traveled to 38 countries around the  

            world; now permanently installed at the Chateau de Clervaux in Luxembourg)

1954    San Francisco Museum of Art, San Francisco, CA

            State School of Arts and Crafts, Saarbrucken, Germany

            University of California at Los Angeles, Los Angeles, CA (solo)

1947    Santa Barbara Museum of Art, Santa Barbara, CA (solo)

1941    Los Angeles County Museum of Art, Los Angeles, CA (first solo show)


Selected Collections:  

Bullock photographs are in the permanent collections of over 90 museums, educational institutions, and art centers.  Those that have 10 or more prints include:

Australia National Gallery, Canberra, Australia  

Bibliothèque Nationale, Paris, France

California Museum of Photography, University of California, Riverside, CA

Center for Creative Photography, University of Arizona, Tucson, AZ 

(Bullock was one of the five founding artists whose archives established CCP in 1975.)

College of Art, Nihon University, Tokyo, Japan

de Saisset Art Museum, Santa Clara University, Santa Clara, CA

Exchange National Bank, Chicago, IL

George Eastman House, Rochester, NY

Indiana University Photographic & Fine Arts Museum, Bloomington, IN

John and Mabel Ringley Museum of Art

Kiyosato Museum of Photographic Arts, Kiyosato, Japan

Los Angeles County Museum of Art, Los Angeles, CA

Metropolitan Museum of Art, New York, NY

Monterey Museum of Art, Monterey, CA

Museum of Fine Arts, Boston, MA

Museum of Modern Art, New York, NY

New Orleans Museum of Art, New Orleans, LA

Oakland Museum of California, Oakland, CA

Princeton University Art Museum, Princeton, NJ

San Francisco Museum of Modern Art, San Francisco, CA

Santa Barbara Museum of Art, Santa Barbara, CA

Special Collections and Archives of the University Library, University of California, Santa Cruz, CA

Tokyo Fuji Museum of Art, Tokyo, Japan

Tokyo Metropolitan Museum of Photography, Tokyo, Japan

University of Maryland, College Park, MD

University of Texas, Austin, TX

University of Wyoming, Laramie, WY

Yamaguchi Prefectural Museum of Art, Yamaguchi, Japan



Among the other institutions are the following:


Amon Carter Museum of Western Art, Fort Worth, TX

Container Corporation of America, Chicago, IL

Crocker Art Museum, Sacramento, CA

Getty Museum, Los Angeles, CA

Houston Museum of Fine Arts

Minneapolis Institute of Art

Mint Museum of Art, Charlotte, NC

Museum of Photography, Paris, France

National Museums of Canada, Ottawa, Canada

National Museum of Modern Art, Kyoto, Japan

Photo Gallery International/Sata Corporation, Tokyo, Japan

Royal Photographic Society, Bath, England

Smithsonian Institution, Washington, D.C.

Tokyo College of Photography, Tokyo, Japan

University of California at Los Angeles, Los Angeles, CA

Victoria and Albert Museum, London, England

Whitney Museum of American Art, New York, NY

William H. Lane Foundation Collection at the Museum of Fine Arts, Boston, MA

Worcester Art Museum, Worcester, MA

Yale University Art Gallery, New Haven, CT





Wynn Bullock Photographs 1951-1973, 1973. 12 mounted prints with an Introduction by Ansel Adams, edition of 25 plus 6 artist’s proofs, sold out. Bullock also produced a very limited series of color light abstraction portfolios, each with a varied selection of images, most likely all gifted or donated.



Selected Bibliographies:






Wynn Bullock 55, Chris Johnson and Barbara Bullock-Wilson, Phaidon Press, New York, 2001 

The Enchanted Landscape: Photographs 1940-1975, essay by Raphael Shevelev, poem by Ursula LeGuin, Aperture, New York, 1993, 1999 

Wynn Bullock, Masters of Photography Series, David Fuess, Aperture, New York, 1976, 1999 

Wynn Bullock, Photographing the Nude: The Beginnings of a Quest for Meaning, Barbara Bullock-Wilson, ed, G.M. Smith, Salt Lake City, 1984 

Wynn Bullock, Photography: A Way of Life, Barbara Bullock-Wilson, Morgan & Morgan, New York, 1973, 1977 

The Photograph as Symbol, Wynn Bullock, Artichoke Press, 1976 

Wynn Bullock, Barbara Bullock, Scrimshaw Press, San Francisco, 1971 

The Widening Stream, poetry by Richard Mack and photographs by Wynn Bullock, Peregrine Publications, 1965 

Monterey’s Adobe Heritage, photographs by Wynn Bullock, Monterey Savings and Loan, 1965.



Other Noteworthy publications:  


First Doubt: Optical Confusion in Modern Photography, edited by Joshua Chuang with contributions by Steven W. Zucker and Allan Chasanoff, Yale University Art Gallery, New Haven, 2008 


The Collectible Moment – Catalogue of Photographs in the Norton Simon Museum, edited by Gloria Williams Sander, Yale University Press, New Haven, 2006 



“Rare and Unknown Bullock”, edited by Brooks Jensen in LensWork, October/November 2004 



“Tribute to Wynn Bullock: The Century Birthday Celebration” by Al Weber in Photo Techniques, September/October, 2002 



“Remembering Wynn Bullock” by Karen Sinsheimer in Photovision Art and Technique, May/June 2002 


Wynn Bullock: Listening with the Eyes, Seeing with the Heart, essay by James Rhem, Stephen Daiter Gallery, Chicago, 2002 

The Tao of Photography: Seeing Beyond Seeing by Philippe L. Gross and S. I. Shapiro, Ten Speed Press, Berkeley, 2001 

Wynn Bullock: Realities and Metaphors, essay by Keith F. Davis, Laurence Miller Gallery, New York, 2001 

Enchanted by the Mystery of Light, essays by Barbara Bullock-Wilson and Yuko Yamaji, Kiyosato Museum of Photographic Arts, Japan, 1999 

Contemporary Photographers, 3rd Edition, essay by Chris Johnson, Gale Research International, Detroit, 1995 

“Muses Sight & Sound – Photographer-Musicians: Bullock, Caponigro, Cramer, Gagliani, Mazzeo, Worth” by Margaret Beernink in View Camera, March/April 1995 “Bullock Makes Unseen Seen” by Peter Miller in The Japan Times, January 1994 Photographers’ Encyclopaedia International, 1839 to the Present by Michele and Michel Auer, CD-ROM Edition, Switzerland, 1995 

“A Tribute to Wynn Bullock”, edited by Brooks Jensen in LensWork Quarterly, Fall 1994 

“A Gathering of Friends – An Interview with Edna Bullock” by Donna Conrad in Camera & Darkroom, February 1993 

“Wynn Bullock and Point Lobos: A Loving Tribute to Man and Place” by Barbara Bullock-Wilson in The Photographic Journal, October 1992 

Decade by Decade: 20th Century American Photography, edited by James Enyeart, Bulfinch Press, Boston, 1989 

“The Magic Eye of Wynn Bullock” by Ruth Jackson in American West, October 1989 

The Naked and the Nude by Jorge Lewinski, Harmony Books, New York, 1987 

A World History of Photography by Naomi Rosenblum, Abbeville Press, New York, 1984 

Color as Form: A History of Color Photography, essay by Robert Sobieszek, George Eastman House, Rochester, 1982 

Dictionnaire des Photographes by Carole Naggar, Seuil, Paris, 1982 

The Metaphorical Nudes of Wynn Bullock” by Joan Murray in Artweek, February 1982 Wynn Bullock Archive, edited by Charles Lamb and Cynthia Ludlow, Center for Creative Photography, Arizona, 1982 

American Landscapes, edited by John Szarkowski, Museum of Modern Art, New York, 1981 

“Wynn Bullock: Visionary and Philosopher” by Joan Murray in Artweek, October 1981  The Photograph Collector’s Guide by Lee D. Witkin and Barbara London, Little Brown & Co., Boston, 1979 

Wynn Bullock in Dialogue with Photography, edited by Paul Hill and Thomas Cooper, London, 1979 

Darkroom I by Eleanor Lewis, Lustrum Press, New York, 1977 

“Light – David Holman, Ruth Bernhard, Jerry Burchfield, Wynn Bullock”, contributing editor Ben Helprin in Photo-Image, Vol. 1, No.1, 1976 

“A Tribute to a Dear Friend Wynn Bullock”, edited by Don Huntsman in Photo-Image, Vol. 1, No. 3, 1976   

“Wynn Bullock” by Jonathan Williams in Aperture, No. 77, 1976  

“Wynn Bullock” by Jean-Claude Gautrand in Le Nouveau Cinema, February 1976 

Wynn Bullock, American Lyric Tenor, Center for Creative Photography, Arizona, 1976 The Magic Image – The Genius of Photography from 1839 to the Present Day by Cecil Beaton and Gail Buckland, Little Brown & Co., Boston, 1975 

“Wynn Bullock” by Gerry Badger in The Photographic Journal, May 1975 

“Wynn Bullock, 1902-1975” by Joan Murray in Artweek, November 1975 

“Wynn Bullock – Photography: A Way of Life” by Joan Murray in Artweek, January 1974 “Wynn Bullock: A Gift of Love” by Joan Murray in Artweek, December 1974 

“Wynn Bullock: more than technique” by Ruth Jackson in Camera 35, January/February 1972 

Wynn Bullock: Twenty Color Photographs – Light Abstractions, de Saisset Gallery and Museum, Santa Clara, CA, 1972 

“Wynn Bullock Monograph…”, a review by A.D. Coleman in The Village Voice, July 29, 1971  

The Great Themes and The Art of Photography, Life Library of Photography, Time/Life Books, New York, 1970/1971 

“Wynn Bullock: Tracing Man’s Roots in Nature”, two pieces by Barbara Bullock and Jerry Uelsmann in Modern Photography, May 1970  

Not Man Apart, edited by David Brower, Sierra Club, San Francisco, 1969  

Wynn Bullock, Photographs, essays by Barbara Bullock and John Humphrey, San Francisco Museum of Art, CA, 1969 

Photography in the Twentieth Century by Nathan Lyons, George Eastman House, New York, 1967  

Space and Time” by Wynn Bullock in Photographers on Photography, edited by Nathan Lyons, New York, 1966 

“The Eyes of Three Phantasists: Laughlin, Sommer, Bullock” by Jonathan Williams in Aperture, October 1961 

“Wynn Bullock: A Critical Appreciation” by Nat Herz in Infinity, November 1961 

Line Photography by Wynn Bullock, Medical and Biological Illustration, 1957 

“Creative Photography 1956” by Van Deren Coke in Aperture, January 1956 

The Family of Man, edited by Edward Steichen, Modern Museum of Art, NY, 1955 (still in print) 

Partial Reversal Line by Wynn Bullock, The Photographic Journal, London, 1955 

“Wynn Bullock…Photographer” by Henry Miller, publication unknown c. early 1950s  “Photographic Horizon” by C. Weston Booth in U.S. Camera, August 1946





Roots of California Photography: The Monterey Legacy, produced by Mac and Ava Motion Pictures and the Monterey Museum of Art, 2002; Wynn Bullock: Photographer, produced by Thom Tyson, 1976; Two Photographers – Wynn Bullock and Imogen Cunningham, produced by Fred Padula, 1966.


Signature and Copyright Information: 

The majority of mounted prints are signed “Wynn Bullock” in small, unobtrusive lettering.  Most often the signature is in pencil, occasionally it is in ink.  Unmounted prints are usually stamped on the back with identifying information and sometimes there is information in Bullock’s handwriting. In the early years of his career as a photographer, Bullock also signed prints as “Percy W. Bullock”, “P.W. Bullock”, and “Wynne Bullock”.  By the early 1950s, he stopped using these versions of his name.

The copyright rights to all Bullock images are owned by Bullock Family Photography LLC.  Proper credit language should include the artist’s name, title of image, date of image, copyright sign, image date /current date, and the words “Bullock Family Photography LLC.  All Rights Reserved.”  An example is given below: