September | October 2002 - Boston Photography Focus

ADVERTISING SUPPLEMENT TO THE NEW YORK TIMES
September | October 2002
Volume
26,
Photography Auction November 7—See details on page 16
Number
5
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Welcome to the Photographic Resource Center
While some of you reading this publication have enjoyed the Photographic Resource Center (PRC) at
Boston University’s programming for many years, many of you will find this special publication to be
your introduction to the venerable institution. For the latter, it is my honor and pleasure to introduce
you to an organization that played, and continues to play, a large and important role in the vibrant
New England and national photographic communities. For our longtime friends, I thank you for continuing to make the PRC one of the most vital art galleries, libraries, and resource centers in the area.
As described by the National Endowment for the Arts, the PRC is, “one of the most significant organizations for the field of photography in the country.”
Few are unaware of the tremendous role that photography plays in our culture. From mass media
imagery to fine art prints, photography’s importance and influence over the past century has grown
dramatically. Since 1976, the PRC has played a key role in the exploration of this impact. In addition
to serving as an environment where photography is studied and enjoyed, the PRC acts as a forum
where community members share ideas and engage in discussion. Located near Kenmore Square in
Boston, the PRC provides a highly acclaimed exhibition program, a 4,200 volume resource library, a
bi-monthly newsletter, lectures, workshops, special events, and an informational website to its members and the general public. As a center for photography in the area, the PRC’s programs have featured
such renowned artists and speakers as Ansel Adams, Nan Goldin, Abelardo Morell, James Nachtwey,
William Wegman and many more.
Within these pages, you will find information regarding upcoming PRC programs, local exhibitions
and education events, PRC membership benefits, and photography-related issues (see our article about
collecting photography on page 10). Whether you are starting or enhancing a collection through our
Benefit Auction, or participating in a workshop taught by an acclaimed photographer, we believe that
you will greatly enjoy the opportunities made available by the PRC. We look forward to having you.
Best regards,
M I S S I O N S TAT E M E N T
The Photographic Resource Center is guided by a philosophical inquiry into the role of photographic media in the
formation of human knowledge and experience. By emphasizing new work, ideas, and methods, and by creating opportunities for interaction among the diverse communities that
it serves, the Photographic Resource Center strives to be a vital
international voice in understanding the past and shaping
the future of photography.
B O A R D O F D I R E C T O R S
Rick Grossman, President
Lou Jones
Mark Young, Vice President
Emily Kahn
Robert Birnbaum
Rodger Kingston
Marvin F. Cook
Gary Leopold
Andrew Epstein
Jonathan Singer
Joanne P. Evans
John Stomberg
Roger Farrington
Maggie Trichon
Michael Jacobson
Charles Zoulias
Keith Johnson
S TA F F
Terrence Morash, Executive Director
Ingrid Trinkunas, Coordinator of Programs and Administration
Leslie Brown, Curator
Alice Hall, Librarian
G E N E R A L I N F O R M AT I O N
Photographic Resource Center at Boston University
602 Commonwealth Avenue, Boston, MA 02215
Tel 617-353-0700
[email protected]
Fax 617-353-1662
www.bu.edu/prc
Terrence Morash
Executive Director
H O U R S
Tuesday–Sunday: 12–5pm
Thursday: 12–8pm
Closed Mondays
Support
The programs and exhibitions of the Photographic Resource Center are made possible
through the generous support of its members, Boston University, various government and
private foundations, and corporations including:
Adesso
American Printing
Ardon Vinyl Graphics
Art New England
artsMedia
Associated Press Photos
Becket Papers
Boston Beer Company
Boston Bluegrass Union
Boston Cultural Council
Boston Park Plaza Hotel
Boston University
Calumet Photographic
Cambridge Offset Printing
The Charles Hotel
Christie’s
City of Boston
Paula Cooper Gallery
Crestar Mfg.
Deborah Bell Photographs
Arthur Dion
Dixie Butterhounds
Jim Dow
Eastman Kodak
Jesseca Ferguson
Filene’s
FleetCenter Neighborhood Charities
Fox River Papers
Gay’s Flowers and Gifts
Gourmet Caterers
Hasselblad
Harpoon Brewery
Helicon Design
This special advertising supplement was produced by
the Photographic Resource Center at Boston University
and did not involve the reporting or editorial staff of
the New York Times.
Henrietta’s Table
Michael Hintlian
Mark Hunt Backdrops
Hunter Editions
Keith Johnson
Deborah Kao
Kabloom
KISS 108 FM
Robert Klein
Lina Kutsovskaya
Rachel Lafo
Lee Gallery
E.P. Levine
Joanne Lukitsh
Luminos Photo. Corp.
Irma S. Mann Strategic Marketing
Massachusetts College of Art
Massachusetts Cultural Council
MassEnvelopePlus
Ted Marrazzo
MCS Frames
Merry Maids
Inge Milde
Museums Boston
Bruce Myren at Bee Digital
National Endowment for the Arts
Nielsen & Bainbridge Co.
Nikon Inc.
Alison Nordstrom
Nylon Magazine
Olympus
Panopticon, Inc.
Perfecta Camera, Corp.
photocurator.org
Photography in New York
Polaroid Corporation
Rialto
Sandy’s Music
Sebastian’s Catering
Skinner, Inc.
Sonya’s Catering
Jerry Spagnoli
Spectrum Select Printing
Betsy Urrico
Peter Vanderwarker
WBUR
Howard Yezerski Gallery
Keitaro Yoshioka
Zeff Photo Supply
Zona Laboratories
Zoo New England
A D M I S S I O N
Adults: $3
Students (with valid ID) and Seniors: $2
Members, children under 18, and school groups
are admitted free. Admission is free on Thursdays
and on the last weekend of every month.
P U B L I C T R A N S P O R TAT I O N
Take the Green Line “B” train to Blandford Street, one stop
west of Kenmore Square.
C O V E R I M A G E
Abelardo Morell, Toy Blocks, 1987. Gelatin silver print, 40x48
inches. Courtesy the artist and the Bonni Benrubi Galllery.
D E S I G N C R E D I T S
This issue of in the loupe was designed by Irma S. Mann,
Strategic Marketing, Inc. of Boston (www.irmamann.com).
It was printed by Cambridge Offset Printing.
1
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A Brief History of the PRC
As highlighted by the Decordova Museum and
Sculpture Park’s recent exhibition and publication Photography in Boston: 1955–1985, photography has a great historical importance to this
region. As a base for institutions that cultivate the
medium’s development, such as Polaroid and
MIT, and an area that is home to numerous seminal photographers, New England’s relationship
with photography is fascinating, ongoing, and
distinctive. For the past 27 years, and as an organization dedicated to the medium, the Photographic Resource Center (PRC) at Boston University has been, and continues to be an influential factor to the regional and national presentation, exploration, and education of photography.
As the prevalence of photography in popular culture grew, and its acceptance as an artistic
medium widened during the second half of the
20th century, a variety of organizations based on
photography emerged. In Boston, sensing a need
for a clearinghouse of information about regional
exhibitions, lectures, and workshops, photographers Chris Enos, Jeff Weiss, and A.D. Coleman,
founded the PRC. The organization was immediately well-received. It was incorporated in 1976,
began publishing a newsletter in 1977, and added
an acclaimed critical journal, Views: A New England Journal of Photography, in 1979. Within a
few years, the PRC had entrenched itself as the
hub of photography in the region.
In 1983, following an assessment of PRC programs and community interests, the Board of
Directors and staff committed to building an
exhibition facility. Boston University, understanding the value of such an organization, allocated space for the PRC on its campus at 602
Commonwealth Avenue. The PRC conducted a
successful $400,000 capital campaign to renovate
the space. Additional paid professional staff positions were added, exhibition and education programs were developed, and galleries and a
resource library were created. The new facility
was dedicated in 1985, and has served as the
PRC’s home for the past seventeen years. Over
this period, the PRC has mounted nearly 200
exhibitions, and shown the work of over 1,000
photographers.
In spite of its forward trajectory, PRC growth was
interrupted by a series of finance-motivated crises
during the early 1990s following the elimination
of federal operating support for visual arts organizations. Faced with these challenges, the Board of
Directors and staff of the PRC took the opportunity re-organize the PRC. In response, programming was focused to better satisfy the needs of its
constituency, and income sources were diversified
to provide a more consistent and reliable financial
base. An immediate and positive response to the
new programs was indicated by a steady increase
in gallery attendance and accelerated growth in
PRC membership. This period saw numerous
exciting developments including the introduction
of the Benefit Auction (see page 16 for details),
and inauguration of the Mother’s Day Portrait
Extravagana—an annual event that allows families
to get affordable fine art portraits taken by some
of the area’s best photographers. These special
events, as well as the PRC’s acclaimed exhibition
program, continue to flourish.
The PRC’s philosophy is to be recognized for the
excellence of ideas presented, and the quality of its
visitors’ experience. Rather than focusing on a single aspect of the medium, the PRC embraces the
history of photography’s reach across numerous
aesthetic and professional fields, emphasizes the
breadth of its contemporary practices, and serves
as a testing ground for practioners and audiences
Where is John Cohen Now?
After closing the second leg of its national tour
at the Chicago Cultural Center August 25th,
the PRC-originated retrospective there is no eye:
Photographs by John Cohen, will debut in Santa
Fe at the Anne and John Marion Center for
Photographic Arts (September 13–November
29, 2002). If you missed it in Boston, check
out prcboston.org under traveling exhibitions
to see the full tour itinerary.
As many of you know, the PRC sends regular
announcements via its email subscriber list.
This list not only serves as a good source of
information, but it also provides helpful
reminders of scheduled events such as PRC
openings and lectures. To add your name to
the list, please send your email address to
[email protected].
Acclaimed photographer, Duane Michals conducting a seminar.
alike to consider the impact of imaging technologies on the future. As it rolls through its 27th year,
and as photography graces the walls of museums
and galleries worldwide, the PRC continues to
serve as an integral component of the photography community. It continues to provide challenging exhibitions, intriguing lectures, and stimulating educational programs within an environment
that is welcoming to all. The PRC is a forum, a
meeting place with available walls where individuals can explore and share ideas, and to present
those ideas in compelling ways to its increasingly
diverse and demanding communities.
PRC Announcements
Connect to the PRC
2
A portrait taken during the PRC's annual Mother's Day
Portrait Extravaganza. © Jack Foley
Monthly Portfolio Reviews
with the PRC Curator
Below you will find dates for our monthly
portfolio reviews (and corresponding call-in
reservation information) with the PRC’s Curator, Leslie Brown. As before, the reviews are 45
minutes long and scheduled on the hour beginning at 9:00 am with the last one at 3:00 pm.
Reservations will be accepted on a first-call,
first-served basis. Please note, most reviews will
be held now on the third Monday of the
month, with the call-in on the third Monday of
the month prior. It is recommended that you
bring supporting materials (resume, images,
and statement).
Review Date: Monday, October 21, 2002
(call in for reservations at 10 am, Friday,
September 20th)
Review Date: Monday, November 25, 2002
(call in for reservations at 10 am, Friday,
October 18th)
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Upcoming PRC Exhibitions
American Perspectives:
Photographs from the
Polaroid Collection
An exhibition presented by the Photographic
Resource Center and the Boston University Art
Gallery. On display at the PRC and BU Art
Gallery
November 22, 2002–January 26, 2003
Opening Receptions: Thursday, November 21:
PRC 5:30–7pm, BUAG 6–8pm, free to the
public.
This fall, Bostonians will get a rare opportunity to
see a cross-section of the historic 23,000-item
Polaroid collection via a collaboratively presented
exhibition hosted by the BU Art Gallery and the
PRC. This unique corporate collection and exhibition highlights the evolution of Polaroid tech-
niques as utilized by photographers and artists alike
from the 1950s to the 1990s. American Perspectives
is a visual feast featuring some of the masters of the
last half century: Ansel Adams, Dawoud Bey, Nancy
Burson, Chuck Close, David Levinthal, Olivia
Parker, Aaron Siskind, Lucas Samaras, Andy
Warhol, and Carrie Mae Weems.
Each venue will present a selection of images centering on a different variation on the idea of
“instant imaging.” Ranging from the familiar
Polaroid SX-70 available to the masses to those
produced by the famous 20 x 24 inch and 40 x 80
inch cameras, the images will dazzle audiences
with their lush color and impressive presence.
Be on the lookout for exciting public programming and more information in the next issue of
in the loupe.
Arno Minkkinen, Self-Portrait, Kilberg, Vardo, Norway, 1990.
Courtesy of the Robert Klein Gallery.
2002 Benefit Auction Preview
Exhibition
September 13, 2002–October 26, 2003
Opening Reception: Thursday, September 26,
5:30–7:30pm, free to the public
Take the opportunity to preview the nearly 160
photographs that will be auctioned off in the
PRC’s 2002 Benefit Auction. Even if you are not
interested in collecting one of these fine photographs, this expansive exhibition is a prime
opportunity to view photographs by such luminaries as Susan Meiselas, Arno Minkkinen, Barbara Norfleet, and Jerry Uelsmann. For a full list
of artists and more information about the auction, see page 16 of this issue.
Photographs from Lake Como
Brian Cummings, Richard Grossman, Michael
Jacobson, Julie Falsioni, Marigold Randall, Gail
Rothenberg, and Holly Smith-Pedlosky.
Members Project Room: An informal space
curated and installed by members.
September 13–October 13
This exhibition presents a selection of work produced during the PRC’s 2001 Abelardo Morell
and Holly Smith-Pedlosky-led workshop in Lake
Como, Italy.
Photographs by Lalla Essaydi
and Judith Larson
Members Project Room: An informal space curated
and installed by members.
October 18–November 18
4
Chuck Close, Self-Portrait, 1987. Courtesy of the Polaroid Collection. © Chuck Close.
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education programs at the prc
WORKSHOPS
Nature through the Lens:
A Seminar on Photographing
Nature with Frank Gohlke,
Shellburne Thurber and
Sheila Connor
Co-Sponsored by the Arnold Arboretum
and the PRC.
Saturday, November 2, 2002, 12:30–3:30pm
Arnold Arboretum, 125 Arborway,
Jamaica Plain, MA
$40 PRC and Arnold Arboretum Members/
$50 Non-Members
Reservations required. Please call 617-353-0700.
This November 2, the PRC and Arnold Arboretum will present a three part seminar on photographing nature. For the seminar, Arboretum
Curator Sheila Connor, and renowned photographers Frank Gohlke and Shellburne Thurber, will
lead you through an exploration of how the landscape is transformed and interpreted through the
lens of the camera. The seminar will begin with a
Connor-led presentation of images from the
Arboretum's vast photography archive, with a
focus on documentation of the New England
landscape. Following the archive presentation,
Gohlke and Thurber will share their work and
discuss nature photography.
Connor is the Curator of the Arnold Arboretum’s
photography collection. The archive holds a collection of 23,000 images dating from 1870 to the present. These photographs document the living collection and record the development of taxa within the
collections. In addition, the archive contains a series
of photographs from collecting expeditions beginning
in 1906 to China, Korea, Japan, Tibet and other
areas of the world from which Arboretum plants
have been collected.
Gohlke is known primarily for his photographs of
nature, and the evidence of human activity and
intervention. He has spent the greater part of his
career exploring the particular qualities of places as
wide-ranging as the open plains of north Texas
where he was born, the landscapes of central France
and the southern United States, and grain elevators
in the Midwest.
Considered part of the Boston School artists,
Thurber is best known for her photographs of interiors and empty spaces in which she searches for the
harmony between people and things; between the
spaces and their inhabitants. Thurber has brought
this same analytical and expository eye to her photographs of nature.
6
G U E S T P O RT F O L I O R E V I E W S
Expressive Possibilities
of Photography: Toning,
Split-Toning, and Mordancage
with Jonathan Bailey
Saturday, October 26, 2002, 9am–5pm
Boston University, College of Communications
Basement Room 25
640 Commonwealth Avenue, Boston, MA
$150 Members/$175 Non-Members
Reservations required. Please call 617-353-0700
In this workshop, the black and white print is
only the starting point. This one-day workshop
will be an intensive, hands-on exploration of
various processes that can further enhance a
black and white image. Particular emphasis will
be placed on specialized toning processes, such
as the split-toning process, and the unusual mordancage process. Student participation will be
emphasized as participants will be asked to bring
their own prints to work on. Each participant
will walk away from this workshop with an
expanded vision and newly energized aesthetic.
Bailey is a fine art photographer, writer, and teacher,
with 30 years of experience. His photography is
exhibited widely, both nationally and internationally, and was most recently seen at the 2002 PRC
Members’ Exhibition. For more information, visit
www.jonathan-bailey.com.
LECTURES
Poets on the Peaks: Framing the
View in a Literary Landscape
A lecture by John Suiter.
Co-sponsored by the New England School
of Photography and the PRC
Thursday, October 10, 2002, 7:30pm.
Photonic’s Center, 8 St. Mary’s Street, Boston.
Book-signing to follow.
Photographer/writer John Suiter will present
Poets on the Peaks, a literary and photographic
body of work which creates a portrait of Gary
Snyder, Phillip Whalen, and Jack Kerouac, focusing on their experiences as fire lookouts in the
early 1950’s in the North Cascades. Based on previously unpublished letters, journals, and recent
interviews with Gary Snyder, Phillip Whalens,
and others, the essay traces the early development
of these poets, who were profoundly influenced
by their time on the peaks. Suiter’s photographs
of peaks, fire lookouts, and mountain vistas, also
pay homage to the landscape. Suiter is a Bostonbased photographer who currently teaches at the
New England School of Photography.
In addition to its monthly critiques given by the
PRC curator, the PRC offers regular portfolio
reviews with invited experts. This opportunity
allows photographers to have their work seen by
nationally-known museum professionals, gallery
owners, critics, and artists. The
September/October guest portfolio reviews are:
Martha Takayama
Director of the Tepper Takayama Fine Arts,
Boston
Review Date: Wednesday October 30, 2002
(Call for reservations at 10am, Friday, October 20)
Tepper Takayama Fine Arts, owned and operated
by Martha Takayama, focuses on contemporary
photography. The gallery represents a number of
Brazilian and Japanese artists, and mounts photography exhibitions.
Bill Burke
Photographer and Professor at the School of the
Museum of Fine Arts, Boston
Review Date: TBA, call 617-353-0700 for
details
Burke is a documentary photographer who
teaches at the School of the Museum of Fine
Arts. He has published two books: I Want to
Take Pictures, and Mine Fields. One of his most
recent projects is a study of French colonial
architecture in Cambodia, Laos, and Vietnam.
The majority of his work focuses on Cambodia,
Vietnam and the United States.
Gary Metz
Photographer and Head of the Photography
Department, Rhode Island School of Design,
Providence
Review Date: Saturday, October 19, 2002
(Call for reservations at 10am, Friday, October
11, 2002)
Metz has been teaching photography for 30
years, and has been a professor at the Rhode
Island School of Design since 1981. He has
curated over 120 exhibitions and has been
included over 90 exhibitions, 30 of which were
solo. He has twice received awards from the
National Endowment for the Arts, and his work
is in such collections as those of the Museum of
Modern Art, Smithsonian, and National Gallery
of Canada.
Frank Gohlke
Photographer and Professor at the Massachusetts
College of Art, Boston
Review Date: TBA, call 617-353-0700 for
details
For details on Frank Gohlke, please read the
description of the PRC’s Nature through the
Lens seminar on nature photography.
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book reviews
Havana: The Revolutionary
Moment
Burt Glinn with an essay by Nan Richardson
Umbrage Editions/128 pages/83 duotones/$39.95
Cuba
Walker Evans with an essay by Andre Codrescu
Getty Trust Publications/96 pages/73 duotones/
$24.95
Havana
Robert Polidori with an essay by Eduardo Luis
Rodriguez
Steidl/124 pages/151 4c fotos/$60.00
If there is a list of subjects that challenge attempts
to capture a quintessence, Cuba would be a standout. In a way, the largest island in the Greater
Antilles brings us to a state akin to the old tale of
the three blind men and the elephant. There have
been, in recent years, an onslaught of photographic
activity in Cuba with the Maine Photographic
Workshops being established there and a steady
stream of books. These three books of photographs
on Cuba—Cuba by Walker Evans, Havana: The
Revolutionary Moment by Burt Glinn and Havana
by Robert Polidori represent stop action/freeze
frame that begins in 1933 during the oppressive
regime of Machado and moves forward to the triumph of the Cuban Revolution in 1959 and on to
the present in what has been referred as the Special
Period, post Soviet Cuba. Of the aggregate 270 or
so images let me assure that they were most certainly not created by blind men, On the other
hand, each of these photographers represented here
do echo photographer Marc Riboud’s musing that
that the tourist sees what he wants to see.
“Cuba is a finicky subject” observes Andre Codrescu
in his idiosyncratic accompanying essay to Walker
Evans’ Cuban photos. Not the least reason is the
stormy love/ hate relationship this wonderful
island nation has had with its pushy Uncle to the
north. While photography from its beginning has
flourished in Cuba it has been, with the exception
of Korda’s world-renowned iconographic portrait
of Che Guevera, outsiders who have brought images
of Cuba to the rest of the world. The most recent
upsurge in fascination with Cuba manifested in
the Buena Vista Social Club is just one more
instance in a long history of external image and
myth making.
Evans’ photographs have had three different lives.
First as the accompanying illustrations to cele-
8
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brated progressive journalist Carlton Beal’s 1933
broadside, The Crime of Cuba. Second as Havana
1933 published in 1989 and now, this most recent
offering, Walker Evans: Cuba. Evans, an aspiring
and then little known photographer was commissioned to travel to Cuba and provide the photographs for Beal’s expose of the corruption and despotism of the American sponsored dictator
Machado’s regime. Young and inexperienced Evans
did make an interesting arrangement with his art
director. He retained the freedom to choose which
images would be used as well as their sequence.
And also, he was able to have them published at the
end of the Beal’s book, almost as an appendix. This
arrangement is additionally interesting given Evan’s
lack of prior knowledge of Cuba and his apparent
disinterest in Beal’s text.
In May of 1933 Evans spent three weeks in Cuba,
mostly in Havana with a medium format and a
view camera and came away with 64 images
(according to a letter he wrote Beals) of which 31
were used in the The Crime of Cuba. The question
of how many images exist gets a little sticky and I
leave it to academicians to settle this matter. The
Getty’s photography curator Judith Keller claims to
have about a 145 images in their collection and 73
are represented in Evans: Cuba.
Given Walker Evan’s lack of interest in Beal’s
agenda or in any need to immerse himself in the
Cuba culture (in the way that Edward Weston did
in Mexico) what are we to make of Evans’ singular
Cuban excursion? For Evans, the developing
artist—excuse the artspeak—we see a burgeoning
focus on the Americanization of the great Cuban
capitol, Havana, that represents the large leap he
makes in documentary realism. His attention to
signage and storefronts and most of all, a wide
range of people, are all part of the mambo the
young photographer is dancing between art and
document.
Burt Glinn, who in 1959 was a young photographer then (and always) with hallowed Magnum
(Photographic Cooperative) left a New Year’s Eve
party, scrounged a few hundred dollars and hopped
a plane to Havana in time to capture the full
panoply of the fervor and anticipation of the overthrow of Fulgencia Batista with his keen eye and
his roving Leicas. One of three western photographers to accompany Fidel Castro’s on the road to
Havana, Glinn’s images in The Revolutionary
Moment have—what explains this? —been, for the
most part, unseen since those exhilarating and
hopeful moments 40 years ago. His 83 duotones
display the young Fidel besieged by ecstatic Cubans
(p 61–65), ex-secret police waiting fearfully under
arrest, in offices they once occupied (p 39). A rag
tag army of guerrillas (p 46–49) representing the
last instance of world wide sympathy for revolution, and crowds of Cubans celebrating (p 95–97)
the demise of yet one more in a long line of sponsored thugs. Glinn has done well in documenting
this moment and perhaps in documenting a central
and crucial event in the history of this hemisphere.
Both the oversized format and full color presentation (in a palette that is both striking and subtle) of
New Yorker staff photographer Robert Polidori’s
Havana, the 120 images that he has assembled are
a striking contrast to the black and white, documentary images of Evans and Glinn. What Polidori
does so skillfully is, as Eduardo Luis Rodriguez
points out, “capture one of the many Havanas that
beat behind the thick walls.” Most of the photographs are interiors that resound, despite the
advanced dilapidation and decay, with splendor
and dignity is powerfully immediate. Some, like
Heredia 312 (p.35) and the screening room of the
Gran Theatro (p.49) are of another world. And
against these interior settings, Polidori occasionally
juxtaposes the residents. It’s in Polidori’s Havana
that we see the contradictions and contrasts and
history and the immediate of this magical city. And
finally, like a stand up comic savoring a punch line,
he ends the book with a photograph of the world’s
ugliest building (p.123), the former Soviet Union
embassy to Cuba.
The seventy year timeline that is represented in
these three photographic monographs suggests a
peculiar and seemingly contradictory relationship
with time that goes beyond our North American
popular fascination with vintage automotive relics
and deco accents and mid-century modern architecture. A quarter of a millennium ago Havana
(along with Lima and Mexico City) was one of the
central, thriving cities in the Western Hemisphere.
In many ways and on many planes our ardor for
that special magic that is Cuba continues to contribute to that indomitable Cuban mystique the
cruel vagaries of Realpolitik notwithstanding. That
you can see that in the almost 300 photographs
presented here over 70 years. As to which Havana
is on view here, that is the most interesting unanswered question.
—Robert Birnbaum
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9
W
riting a guide to any topic that deals with
subjective tastes, such as collecting, is an inexact
science. It begins and ends with the same sentiment—“collect what you like.” Markets, fads,
and photographers of the moment come and
go. This brief outline is only a beginning;
experience and concentrated looking is the best
advice. Luckily, there are a few concrete suggestions one can impart about collecting photographs. Whether one has a large nest egg or a
student’s budget, the joy of collecting photography is well within anyone’s grasp.
Why Photography?
Photography, to an extent unknown in other
artistic genres, bridges many disciplines. From
a fine art print to one made under the auspices
of a 19th century geological survey, photography
has always served many purposes. Journalism,
fashion, medical, and scientific photography
are only some of its guises. It is this unique
chameleon-like quality—an image of lesser
visual merit can be prized for historical, social
importance or an unorthodox, rare subject—
that can make collecting photographs complex,
but equally as exciting.
The inherent satisfaction of owning an original
photograph is priceless. Experts are split on
whether or not a collector should begin with
a particular goal in mind or simply follow his
or her instinct. Collecting iconic images by
acknowledged masters is less feasible today as
most have already entered the museum or private sector. New academic approaches in cultural and social history have also contributed to
the expansion of what the market considers to
have value. Thus while it may seem narrower,
the photography market has actually increased.
Collectors today can get just as much joy acquiring an anonymous snapshot on ebay as an original Dorothea Lange at Christie’s.
While reading the following historical overview,
keep in mind several options for getting started.
First and foremost, what or who do you like?
Do you enjoy photographs for their subject
(portraits or landscape, for example)? Perhaps
you are drawn to a certain time period, school,
or movement within the history of photography.
Another option is to acquire works made using
a certain process, such as photogravure or other
alternative processes. A well-informed collector
knows the history of photography, it various formats as well as its tools. Cultivate your curiosity
and read on.
A Brief History of Collecting Photography
Most people do not realize how young photography is as a medium; collecting it is even
younger. Historians generally accept that photography was invented circa 1839 by a variety of
practitioners. Since then, photography’s battle to
be accepted as a fine art has been an uphill bat-
10
ADVERTISEMENT
C
ON
OLLECTING
PHOTOGRAPHY
By Leslie K. Brown, PRC Curator
tle. Until the boom in the 1970s, museum and
personal collecting was spotty at best. The development of a true history of photography largely
began with the establishment of museum
departments specifically devoted to the medium
in the 1940s. Studying the history of collecting
photography is an important facet of photographic history as museum professionals wrote
most of its early history. Once museums began
to collect photographs, the medium was well
on its way to general acceptance.
Before there was any department of photography, the New York-based photographer Alfred
Steigltiz did much to pave the way for photo’s
future. Stieglitz founded two important forums
for the promotion of photography as a fine art:
a magazine, Camera Work (1903–1917), and
a gallery, The Little Galleries (also known as
“291,” its address on Fifth Avenue, from
1905–1918). In contrast to more amateur
“club” publications, Camera Work was a lavish
quarterly that contained photographs, short
poems, philosophical essays, and exhibition
reviews. Through the use of layered mats, colored frames, and elegant display practices in his
gallery, photographs were exhibited foremost as
art. The prices for some of these prints (most
well under $25) would astound us today.
Through 291 and his subsequent galleries, An
Intimate Gallery (1925–1929) and An American Place (1929–1946), Stieglitz acted as agent
on behalf of many and helped to establish practices common to most photo galleries today.
The subsequent “museumification” of photography and the fascinating, overlapping relations
between its attendant champions reads like a
diagram of characters from War and Peace. On
the West Coast, inspired in part by Stieglitz, a
young Ansel Adams opened a photography
gallery in San Francisco in 1933, the year after
the group f 64 was formed (f 64 was so named
for the small camera aperture that produced
extremely detailed images). A consultant to the
newly formed Museum of Modern Art in the
1930s, Adams, along with Beaumont Newhall,
helped in founding the first ever photography
department in a museum in 1940. Adams
would go on to play a hand in forming an
amazing amount of photographic organizations,
becoming one of the most recognizable and collectable photographers in its history.
In 1947, photographer Edward Steichen took
over the helm at MoMA. Steichen’s fifteen-year
tenure as director of photography helped to
establish the department as one of the most
prestigious and prominent forces in photohistory. Not to be outdone, Newhall, in 1948, was
named the curator of the newly formed George
Eastman House in Rochester, NY. Today known
the International Museum of Photography and
Film, the George Eastman House is one of the
finest museums devoted to photography and its
history in the world.
The trend today is for museums to acquire
whole collections from donors or collectors
rather than buy prints individually at auction.
The Museum of Fine Arts, Houston, for example, recently acquired a collection of 3,760 photographs spanning the years 1840–2000 assembled by an Amsterdam-based collector. An interesting coda to this web of connections is that
MoMA has been deaccessioning photographs
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Benedict Herzog, Marcella, photogravure from Camera Work, no. 12, 1905,
courtesy of the Lee Gallery. This print is in the PRC’s 2002 Benefit Auction.
Stieglitz used photogravure, a photo-mechanical process produced from the
original negative, to illustrate his journal Camera Work. Usually priced at
between $100–$500, Camera Work photogravures are a good affordable
collecting genre and quite beautiful objects in themselves.
Jerry N. Uelsmann, Untitled (figure at clouds/lone tree), 2002, 12 x 101⁄2 inches,
gelatin silver print, combination print (three negatives).
Arthur Leipzig, Stickball, 1950, gelatin silver print, 91⁄2 x 121⁄2 inches. This print is in the PRC’s 2002 Benefit Auction.
11
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Important Milestones
in Photographic Collecting
1924 The Museum of Fine Arts in
Boston became the first major
museum to include photography
in its permanent collection by
accessioning a group of Stieglitz
images
1931 Julien Levy inaugurated his historic
gallery with a photography show
1936 Life Magazine, with a mission
to “'to see life; see the world”
through pictures, is launched; the
important group dedicated to
documentary work, Photoleague, is
formed in New York
1952 Nancy and Beaumont Newhall,
Minor White, Dorothea Lange,
Barbara Morgan, and Adams
co-found Aperture, a photography
journal
1954 Helen Gee’s Limelight Gallery
opens in New York, establishing
many major practices of fine photo
galleries today
1955 Edward Steichen curated the
eponymous photography exhibition, The Family of Man, which
traveled to 6 continents and was
seen by over 7 million people
1969 Lee Witkin Gallery, the first commercial gallery devoted solely to
photography, opened
1979 Ansel Adams featured on cover of
Time, largely signaling the arrival
and acceptance of photography as
an art form
Adapted from and inspired by ABCs of Collecting by
Richard Pitnick, Black & White Magazine, June and
August 2002
through Sotheby’s for the last few years. Mostly
comprised of copy prints, press photos, and
prints made specifically for exhibition and study
under Steichen, these images were essentially
duplicates within their exhaustive collection or
not produced by the original photographer.
Developing an Eye and Learning the History
As any student of connoisseurship will tell you,
there is a certain element of the visceral in determining quality in art. What makes a good photograph is a complex blend of many factors.
Recognizing these factors—such as a well12
formed composition, a unique approach to subject, a thought-provoking message, and good
printing skills—takes practice. Relying on your
instinct can be hard when faced with the choice
between purchasing on the spot and a long-term
collecting goal. Developing your eye and learning the history go hand in hand; knowing what
made a good photograph in the past will only
help you determine one in the future.
Luckily, there are many avenues—on a variety
of different levels with a range of time commitments—to which inspiring collectors can
apprentice themsleves. Located within the
Boston area are some of the finest institutions
of higher learning at which one can easily take
or audit a history of photography class. There
are also extensive night and weekend opportunities for the continuing, non-traditional student.
In addition, Boston offers the boundless access
to libraries. The Boston Public Library, university libraries, as well as the PRC’s own Aaron
Siskind Library are treasure troves for the student of photography. From survey books, to rare
editions, and the latest new releases, a collector
should familiarize oneself with the major photography publications. There are also many
general periodicals through which one can stay
on top of art happenings including Art News,
Art in America, and Art on Paper. The PRC’s
4,000 volume library receives over 80 journals
from around the world, many of which you
cannot find at most libraries. Periodicals that
focus on photographic collecting in particular
include Black & White Magazine and The
Photograph Collector.
To further refine the eye, one should also start
to frequent gallery and museum exhibitions.
The PRC’s newsletter in the loupe is one place
where you can find out about numerous photography events around town. Another way to
learn about photography and meet those with
like interests is to join a museum group for
inspiring collectors. Increasingly, more of these
special interest groups are being devoted to photography specifically. Examples of such memberbased programs are Foto Forum at SFMOMA
and the Friends of Photography at the Museum
of Fine Arts, Boston. For a yearly fee, usually
between $100 and $1000, with the money
going towards purchasing art for the museum’s
collection, these programs afford unprecedented
access to museum curators, lectures with invited
experts, and the opportunity to help shape a
collection. Whichever course of learning you
choose, remember to enjoy yourself and don’t
be afraid to ask questions.
Avenues for Photographic Collecting
• Auctions
Whether you participate in the higher-end auctions or not, following them is almost as pleasurable. The major auction houses that feature
photography-specific sales include Butterfield’s,
Christie’s, Phillips, Sotheby’s, and Swann Gal-
leries, all of which offer beautiful catalogues and
an online presence. Additionally, there are many
regional auction houses that have begun to feature photography as well. Auction season kicks
off full force this fall with most of the major
houses holding their photo sales staggered
throughout the month of October.
To find out more about a specific auction you
can either visit the individual houses’ websites
or consult one of several guides, either in print
or online. Photography in New York International (photography-guide.com) publishes a
useful bi-monthly guide that lists highlights
of upcoming auctions as well as every major
photography exhibition. Another publication
devoted mainly to the auction side is The
Photograph Collector published by The Photo
Review (photoreview.com). The Review also
makes available an annual survey of prices for
photographs sold at auction, The Photographic
Art Market, an essential tool and investment
for any serious collector.
• Galleries and Independent Dealers
A gallery expert can be a beginner collector’s best
friend. Once familiar with your tastes, a gallerist
can keep an eye out for new finds or upcoming
artists. Some of the Boston area galleries that
regularly feature photography include Gallery
Naga, Robert Klein, Barbara Krakow, Lee, Mercury, Audrey Pepper, Tepper Takayama Fine
Arts, Bernard Toale, and Howard Yerzerski Galleries. An important voice within the collecting
community is that of the umbrella organization,
The Association of International Photography
Art Dealers (AIPAD), of which Boston-based
Klein is currently President. As detailed on their
website (photoshow.com), AIAPD members
“provide a wide range of services to the public,
such as exhibitions, appraisals, expert opinions
and consultations.” AIPAD also publishes a valuable pamphlet, On Collecting Photographs,
available for purchase through their website.
• Festivals and Fairs
There exist abundant photo fairs and festivals
for the aspiring collector. One of the most
highly anticipated in the photo world is that of
AIPAD’s. Over eighty-five international dealers
will converge on New York for the annual
AIPAD show to be held February 7–9, 2003.
Also in New York is The Armory Show, which
will host their first ever Photography Show this
October 25–28 (thearmoryshow.com). Several
cities also host month-long photography festivals
at which there are hundreds of exhibitions and
educational opportunities. Two of the larger
festivals are Houston’s biannual Fotofest
(fotofest.org), which is held in March, and
Palm Beach Photographic Centre’s Fotofusion
(fotofusion.org), which occurs every January.
On the international scene, Paris Photo will be
held November 14–17 (parisphoto.fr), while
Contact, Toronto’s annual photography festival
is held in May (contactphoto.com).
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Collecting Multiples
Because photography usually involves a negative, it can be reproduced. In order to oversee
quality and insure a consistent price for their
work, photographers, like sculptors or printmakers, often limit their editions. The earlier a
print is in an edition, 1/10 or 3/25 for example,
or the smaller the edition, the more it is worth.
Sometimes, you will come across what at first
glance might appear to be two versions of the
exact same image priced at $1000 and $15,000.
This can be confusing to a beginning collector,
but keep this in mind: rarity drives a market.
If you establish that a work was made by the
original photographer at or close to the time
that the negative was created—what is known
as a vintage print—the more a print is usually
worth. Signatures, condition, and the print’s
history, or provenance, can also help to authenticate and establish a print’s value.
Abelardo Morell, Wavy Book, 11 x 14 inches, Singer Editions Iris
print, 2002, 2002 PRC Members’ Print Program.
• Benefits for Schools and Non-Profits
For a school or non-profit organization, a benefit auction or sale can be one of its most important revenue generating sources. Auctions such
as the PRC’s, now in its 7th year, would not be
possible without the generosity of numerous
artists. This November over 160 photographs
will be auctioned off to support exhibition and
education programs (for more information turn
to page 16 and check out prcboston.org for a
complete catalogue of works). Similar events for
charities, which might include a live or silent
auction, are also held throughout the year in the
Boston area. Additionally, many art schools hold
sales of student and faculty work. Local art
schools such as School of the Museum of Fine
Arts, Boston and Massachusetts College of Art,
for example, hold eagerly anticipated annual
sales. With some of the finest art schools in the
nation, this is an excellent opportunity to own
an original photograph by an established teacher
or a cutting edge new talent.
• Print Programs
Often a level of membership and an important
revenue-generating source, print programs are
offered at many smaller, photography organizations. The PRC’s Members’ Print Program, for
example, features high quality, limited edition
artworks by photographers at tiered levels,
affordable to most budgets. Most prints in such
programs start at around $300 and go up in
increments, with the option to mix and match
from several levels. A work by a more wellknown photographer, such as Abe Morell whom
you see pictured, was offered at $1200. A print
program is also a wonderful opportunity to support both up-and-coming photographers, such
as Pamela Ellis Hawkes, and a photography
institution at the same time.
To give you an idea of how important this can
be, it is worth elaborating on Morell’s print
from the PRC Members’ Print Program. A seasoned professional teaching at Massachusetts
College of Art, Morell has had several nationally touring solo exhibitions. For the PRC’s
program, he agreed to do an edition from his
popular series picturing water-damaged books
from the Boston Public Library. This edition
was not printed in Morell’s usual medium, gelatin silver, but using a high-end digital printing
process called an Iris print by Jonathan Singer.
This was Morell’s first venture ever into Iris
printing, therefore making the print quite
unique. Color Iris prints are now archival for
over 100 years, more than traditional color
prints, with black and white iris prints estimated to last even longer. Morell’s edition was
limited to 5 and sold out within 2 months.
By contrast, Ansel Adams wanted his negatives
to be used as teaching tools and allowed for
subsequent printing by others. Alan Ross was
the exclusive printer of these negative after
Adams’s death and, to date, he has made over
70,000 prints from the 31 negatives in the
series. Because of this, more people can own an
Adams, but as many were not printed by him
and from editions of thousands, the value is
therefore affected. One of Adam’s most famous
images, Moonrise over Hernandez, of which
Adams produced over 1100 prints during his
lifetime, sold for around $700 in the 1970s. A
later print by him is now estimated in Christie
‘s fall auction at $90,000–$120,000. As an
aside, the highest price ever fetched at auction
for a photograph was in 1999 at Sotheby’s in
London. A seascape by French photographer
Gustav Le Gray went for 507,500 pounds
($832,300).
13
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• The Internet – Ebay, Online Galleries,
and Auctions
Increasingly, the internet has become an important source for collectors to buy and trade as
well as do research. These sites are very easily
navigatable and can be highly addictive. In fact,
many galleries and photographers have now
started to post inventory online. In fact, Ebay
has joined with Sothebys.com to form a midrange online collecting forum. Below you will
find some internet sites through which you can
find access to hundreds, if not thousands, of galleries and photographs.
• Open Studios and the
Photographers Themselves
Many local art societies and neighborhood associations hold “open studio” sessions through the
year. Usually free or for a nominal fee, this is a
great way to get behind-the-scenes and see where
artists work. The City of Boston helps to sponsor the Boston Open Studios Coalition, a group
of 12 neighborhood organizations that host
open studios of over 1,200 artists from September through December. Besides the larger ones
such as Jamaica Plain, Fort Point, and the South
End, check out www.bostonopenstudios.org for
a complete listing.
• Trade Shows, Antique Stores, and Flea
Markets
Although less profitable for finding fine art
prints, an avid collector of photographica is
often rewarded with boundless treasures at
antique shows and flea markets. Spurred in
part by the popularity of shows such as PBS’s
Antiques Roadshow, collecting of anonymous
Pamela Ellis Hawkes, Wrinkled Nautilus Shell, 11 x 14 inches,
gelatin silver print, 2000, 2002 PRC Members’ Print Program.
Receiving both the Ernst Haas and 21st Journal of Contemporary Photography awards, Hawkes is a rising star of the New
England photography community. Her work is featured in collections of the Museum of Fine Arts, Houston, Polaroid Corporation, and the Boston Public Library.
14
photographers and photographic ephemera has seen
huge growth. Vernacular photography can include everything from the various “types”
of nineteenth-century cased
images to photojewelery. Local
amateur and historical societies
hold many sales through the
year that feature this type of
work. The Photographic Historical Society of New England
(PHSNE), for example, holds
two annual fairs and publishes
an informative newsletter. The
aesthetic of the snapshot has
recently been the subject of
several major museum exhibitions making this somewhat
more affordable genre highly
sought after and quite collectable.
Marking the 1970s and the 1980s was the development of numerous non-profit art spaces
devoted solely to photography. For the most part,
these galleries do not collect but exist to support
the furthered mission in the tradition of Stieglitz
by featuring the work of emerging photographers. A partial list of such galleries and when
they were founded is a testament to the tremendous activity in the photo world at that time:
The Friends of Photography, San Francisco,
CA (founded in 1967 by Ansel Adams, now
defunct); Visual Studies Workshop, Rochester,
NY (1969); Light Factory, Charlotte, NC
(1972); Center for Exploratory and Perceptual
Art, Buffalo, NY (1974);
SFCamerawork, San Francisco, CA (1974); Lightwork, Syracuse, NY
(1976); Photographic
Resource Center, Boston,
MA (1976); Blue Sky
Gallery, Portland, OR
(1977); Center for Photography at Woodstock, NY
(1977); Houston Center
for Photography, TX
(1981);Society for Contemporary Photography,
Kansas City, MO (1984);
Silvereye Center for Photography, Pittsburgh, PA
(1985); Photographic Center, Northwest, Seattle, WA
(1988); Center for Photographic Art (began as the original Friends of
Photography), Carmel, CA (1988).
It is perhaps with these vibrant, contemporary
spaces and with the talented, up-and-coming
photographers that they showcase that photography’s collecting future lies. Despite an everchanging market, a plethora of collecting opportunities remain as outlined above. Remember,
Anonymous, Deford’s Grocery, 1949, courtesy of Rodger
Kingston, 2002 PRC Benefit Auction. A local collector of
vernacular and anonymous photography, Kingston is known
for selecting images using a keen eye and sense of humor.
at one time the giants that we think of today—
from Paul Strand to Edward Weston to Robert
Frank—were once unknown and featured on
the walls of what were once considered “alternative” spaces. Whatever avenue you chose, the
PRC wishes you good luck in your collecting
adventure. Perhaps you will discover the next
masters of photography.
Some Useful
Collecting Links
www.iphotocentral.com
I Photo Central, a website for photography collectors. Includes news and event
listings as well as auction commentaries.
www.artnet.com
Artnet is a website to buy, sell, and
research online. Many galleries and
dealers are hosted via this portal.
www.artincontext.com
“Art in Context catalogues and presents
information added by curators, dealers,
artists, writers and others from around
the world.” Searchable by artist or
gallery.
www.askart.com
“The Artist’s Bluebook,” a guide to over
27,000 American artists. Also provides
an extensive glossary, auction results,
and links to museums and galleries.
CONTEMPORARY PHOTOGRAPHS BY
D AVID H ILLARD
D EBORAH B RIGHT
C HRIS KOMATER
S TEPHEN B ARKER
M ARIAN ROTH
D AVID L EVINTHAL
TODD WATTS
J OCELYN L EE
Abelardo Morell
Small Vase on the Edge of Table, 2002
A BELARDO M ORELL
BERNARD TOALE GALLERY
450 Harrison Avenue Boston Massachusetts 02118
617 482 2477
www.bernardtoalegallery.com
15
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16
ADVERTISEMENT
Preview Exhibition: September
17–
November 7, 2002
Opening reception on Thursday,
5:30–7:30pm, September 26, 2002.
Free to the public
Auction:
November 7, 2002
Preview Reception and Silent Auction
at 6pm
Live Auction at 7pm.
Auctioneer, Stuart Whitehurst, Skinner, Inc.
Location:
Photographic Resource Center
Are you interested in collecting photography? On November 7th, in partnership
with the Boston-based auctionhouse Skinner, the PRC will host its 2002 Benefit Auction. With the help of Skinner auctioneer
Stuart Whitehurst, who you may have seen
on The Antiques Roadshow, nearly 170 photographs by over 150 photographers will be
auctioned off to support the exhibition and
education programming at the non-profit
photography center. With a tremendous
number of outstanding works, the 2002 auction is expected to be a perfect opportunity
for people to start or enhance a collection of
fine art photographs while supporting one of
the area’s most vital cultural institutions.
Leading up to the event, the photographs
will be on display at the PRC for the enjoyment of the general public. The work can
also be previewed through the auction catalogue (available for $5), or online at prcboston.org. Admission to the auction itself is
$25 and includes a ticket to the evening’s festivities, as well as a catalogue. Hors d’oeuvres
and refreshments will be served, and a good
time is expected to be had by all. To reserve
a ticket, purchase a catalogue, or find out
more about the event, visit us online or call
the PRC at 617-353-0700.
The Artists of the PRC’s 2002 Benefit Auction
Opposite page, left to right, top to bottom:
Gilles Peress
Horse Show, Dromore, County Down, 1984
Gelatin silver print, 36 x 24, signed verso
Anonymous Gift
Retail Value: $3,000
Jim Fitts
Legs, Paris, 2000
Gelatin silver print, 11 x 14, signed verso
Retail Value: $450
Constantine Manos
Red Dress, New Orleans, 2000
Pigment dye print, 12 x 18, signed recto and verso
Retail Value: $1,000
Paul Cary Goldberg
Les Fruits de Charlevoix, 2000
Iris print, 16 x 18, edition 1/30, signed recto
Retail Value: $900
Vaughn Sills
Nest with Dictionary from the series Beyond Words,
1999
Singer Editions Iris Print from Polaroid 655
negative, 15 x 20, signed recto
Retail Value: $900
Olivia Parker
Clam, 2001
Pigment print, 12 x 18, edition 5/30, signed recto
Retail Value: $1,000
Stan Grosfeld
Opening Day, Fenway, 2002
Digital print, 131⁄2 x 9
Retail Value: $300
Sheila Metzner
Michal Ballerina, 1982
Fresson, 101⁄2 x 161⁄2, edition 1/15, signed
Retail Value: $3,500
Nubar Alexanian
Kristin Anderson
Thomas Annan
H.A. Atwell
Jonathan Bailey
Stephen Barker
Max Belcher
Bremner Benedict
William H. Bettle
David Binder
Judy Black
Laura Blacklow
Barbara Bosworth
Bill Burke
Alexandra Brez
Deborah Bright
Andrew Brilliant
Kevin Bubriski
Catherine Chalmers
Kathy Chapman
Camila Chavez Cortes
Carl Chiarenza
John Cohen
Michael A. Conway
Barbara Crane
Marnie Crawford
Samuelson
Maryjean Viano Crowe
Brian Cummings
Paul D’Amato
Judy Dater
Karen Davis
Tony Decaneas
Gloria DeFilipps Brush
Elsa Dorfman
Jim Dow
Gary Duehr
Lisa Aileen Dragani
Thomas Eakins
Harold Edgerton
Burton Elliott
Patricia A. Eynon
Roger Farrington
Feldman
Jesseca Ferguson
Jim Fitts
Morocco Flowers
Nancy Ford Cones
Dore Gardner
Jason Byron Gavann
Thomas Gearty
Mario Giacomelli
Burt Glinn
Frank Gohlke
Paul Cary Goldberg
John Goodman
Robert Goss
David Graham
Stan Grosfeld
Richard Grossman
C.H. Harrison
David Herwaldt
Benedict Herzog
Erica Hill
Albert Hiller
Henry Horenstein
Susan Jahoda
Keith Johnson
Lou Jones
Béla Kalman
Lance Keimig
Gyorgi Kepes
Dorothy Kerper
Monnelly
B.A. King
Rodger Kingston
Mary Lang
Peter Laytin
Tim Lehmacher
Arthur Leipzig
Fred Levy
Eric Lewandowski
Edwin Hale Lincoln
Charles M. Lovell
Nathon Lyons
Ulrich Mack
Alex S. MacLean
Sarah Malakoff
Constantine Manos
Darrell Matsumoto
D.W. Mellor
Wild Bill Melton
Sheila Metzner
Charlie Meyer
Chester Michalik
Kate Mimnaugh
Arno Rafael Minkkinen
Abelardo Morell
David Mussina
Bruce Myren
Patrick Nagatani
Tricia Neumyer
Nicholas Nixon
Barbara Norfleet
Gu Suel OK
Tom Okada
Fran Osborn-Blaschke
H.L. Packard
Oscar Palacio
Olivia Parker
Allan Penn
Gilles Peress
Billie Perry
Philin Phlash
Sylvia Plachy
Esther Pullman
Rosamond Purcell
David Prifti
Achille Quinet
Marc A. Raila
Neal Rantoul
H.F. Rile
Sonja L. Rodrigue
Karin Rosenthal
Michal Ronnen Safdie
Stu Rosner
Jo Sandman
Dana Salvo
Michael Silver
Lydell Sawyer
Vaughn Sills
Aaron Siskind
Giorgio Sommer
Cheryl Sorg
Sandra Stark
A.L. Steiner
Von Stilfried
Jim Stone
Martin Stupich
Joyce Tenneson
Shellburne Thurber
Philip Trager
Henry Troup
Jane Tuckerman
Jerry N. Uelsmann
John Vachon
Peter Vanderwarker
Debra Vilen
Bradford Washburn
Jill Waterman
Alex Webb
Nick Wheeler
James Leon Williams
Ernest C. Withers
Tom Young
In addition to its members and numerous patrons, the Photographic Resource Center is supported by funds from the Massachusetts
Cultural Council, National Endowment for the Arts, and the Boston Cultural Council. The 2002 Benefit Auction is supported by
the participating artists, boston Un iversity, Skinner, The robert Klein Gallery, Elias Fine Arts, the Lee Gallery, Panopticon Gallery,
the Bonni Benrubi Gallery, singer Editions, Ardon Vinyl Graphics, BeeDigital, BU Parking Services, Crestar the Frame Factory,
American Printing, Cambridge Offset Printing, Neilson & Bainbridge Co. and numerous other companies and individuals.
17
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photography events in new england and beyond
in the loupe listings deadlines
EXHIBITIONS
MASSACHUSETTS
Addison Gallery of American Art
John O’Reilly: Assemblies of Magic (Sep 3–Dec 22),
Tues–Sat, 10–5; Sun 1–5. At the corner of Route 28
and Chapel Ave., Andover, MA. 978-749-4015
www.andover.edu/addison
Art Complex Museum
The Inner Eye: Pinhole Photographs by Jesseca Ferguson
(Sep 22–Jan 12), Wed–Sun, 1–4. 189 Alden St.
Duxbury, MA 02331. 781-934-6634
www.artcomplex.org
Art Institute of Boston
Chernoble Legacy featuring Photographs by Magdalena
Caris and Paul Fiasco (Sep 9–Oct 20), Mon–Sat,
9–6; Sun, 12–5. 700 Beacon St., Boston, MA 02215
617-585-6676. www.aiboston.edu
Bentley College Photo Gallery
Digital Still Lifes by Judith M. Daniels (Aug 26–
Sep 26). LaCava Campus Center, 175 Forest Street
Waltham, MA 02452. 781-891-2000
www.bentley.edu
Bromfield Art Gallery
Johnny Arguedas (Oct 2–Oct 26), Wed–Sat 12–5
11 Thayer St., Boston, MA 02118. 617-451-3605
www.bromfieldartgallery.com
DeCordova Museum and Sculpture Park
Looking at Ground Zero: Photographs by Kevin Bubriski
(Sep 14–Feb 23), Tue–Sun 11–5. Lincoln, MA 01773
781-259-8355. www.decordova.org
DNA Gallery
Photographs by Kahn/Selesnick (in the main gallery)
Photographs by Sterck-Rozo (in the office)
(thru Sep 11), Daily 11–6. 288 Bradford St.
Provincetown, MA 02657. 508-487-7700.
www.dnagallery.com
Essex Art Center
Through the Lens, Jill Kennington Courtlaud black and
white photography in the Main Gallery; Blood Kin,
a collaborative installation in the Elizabeth A. Beland
Gallery (Jul 12–Sep 6). Tue–Thur 10–7; Fri 10–3
56 Island St., Lawrence, MA 01840. 978-685-2343
www.essexartcenter.com
Fitchburg Art Museum
Adams and O’Keefe on the Road (Sep 25–Jan 12)
Tue–Sun, 12–4. 185 Elm St., Fitchburg, MA 01420
978-345-4207. www.fitchburgartmuseum.org
Fort Point Arts Community Gallery
Flat, Square and On the Wall: Featuring local
photographers Adie Russell and Peter Harris
(Aug 16–Sep 20), Mon–Fri, 10–3; Sat, 12–5
300 Summer Street, Boston, MA 02110
617-423-4299. www.fortpointarts.org
The Griffin Museum of Photography
An Eye for Golf (thru Sep 8), Tue–Sun 12–4
Peggy Sirota fashion photographer, includes works
from her debut book GUESS WHO (Sep 19–Dec 28)
Tue–Sun 12–4. 67 Shore Rd., Winchester, MA 01890.
781-729-1158. www.griffinmuseum.org
Harvard University Art Museums
Busch-Reisinger Museum
Surface Tension: Works by Anselem Keifer from the Broad
Collection and the Harvard University Art Museum
(Jun 6–Oct 6), Wolfgang Tillmans: Still Life
(Oct 25–Feb 3, 2003) Mon–Sat, 10–5; Sun 1–5
32 Quincy St. Cambridge, MA 02138. 617-495-9400
www.artmuseums.harvard.edu
Howard Yezerski Gallery
Studio Series from the mid 1980’s: John O’Reilly
(Oct 4–Nov 5), Tue–Sat 10–5:30. 14 Newbury Street,
Boston, MA 02116. 617-262-0550
www.howardyezerskigallery.com
List Visual Art Center at MIT
Eye: An Exhibition of Retina Prints and Poems by
Elizabeth Goldring (Jun 4–Sep 13), Mon–Fri, 9:30–5
77 Massachusetts Ave., Cambridge, MA 02139
617-253-4444. www.web.mit.edu/lvac
Memorial Hall Museum
The Allen Sisters: Pictorial Photographers 1885–1920
(thru Oct 31), 9:30–4:30 daily. 8 Memorial St.
Deerfield, MA 01342. 413-774-3768
www.deerfield-ma.org
Museum of Fine Arts
Lens Landscape (Aug 14–Feb 23, 2003), Adam Fuss
(Sep 25–Jan 12, 2003), The Photography of Charles
Sheeler: American Modernist (Oct 23–Feb 2, 2003)
Mon–Tue, 10–4:45; Wed–Fri, 10–9:45; Sat–Sun,
10–5:45. 465 Huntington Ave., Boston, MA 02115
617-267-9300. www.mfa.org
Newbury Town Public Library
Color Photography works by PRC member Barbara
Filo. (Month of Nov), Call for hours. Lunt St., Byfield,
MA. 978-465-0539
Rice/Polak Gallery
The Rice/Polak’s Annual Photography Show, including
Walter Crump, Judith Bradford Brown, and Kristine
Triebert, and others. (Sep 6–Oct 31). Daily 11–6pm
430 Commercial St., Provincetown, MA 02657
508-487-1052
Robert Klein Gallery
Photographs by Arno Minkkinen (Sep 6–Oct 19)
Tue–Fri, 10–5:30, Sat 11–5. 38 Newbury St., Boston,
MA 02116. 617-267-7997. www.robertkleingallery.com
Rose Art Museum at Brandeis University
Fictions: New Narrations in Contemporary Photography
Video (Sep 11–Nov 24), Wed–Sun 12–5
415 South St., Waltham, MA 02454. 781-736-3434
www.brandeis.edu/rose
Schoolhouse Gallery
Anonymous Photographs (Sep 6–18)
Photographs by Rowland Scherman (Sep 19–Oct 2)
Call for hours. 494 Commercial St., Provincetown,
MA 02657. 508-487-4800.
South Shore Art Center
Present Company: Visiting Artists (Aug 9–Sep 22)
Mon–Sat 10–4; Sun 12–4 with photographs by Jesseca
Ferguson 119 Ripley Rd., Cohasset, MA 02025
781-383-2787. www.ssac.org
November/December issue:
September 30, 2002
January/February issue
November 15, 2002
Worcester Art Museum
Mask of Mirror?: A Play of Portraits (Oct 5–Jan 26)
Wed–Fri 11–5; Sat 10–5, Sun 11–5. 55 Salisbury St.,
Worcester, MA 01609. 508-799-4406
www.worcesterart.org
Zona
Red Rock Wilderness: Photographs of Southern Utah by
Harvey Halpern (Sep 1–30), Photographs by Diane Wolf
(Month of Oct), Mon–Fri 8–8; Sat 10–4
561 Windsor Street, Somerville, MA 02143
617-628-2545.
ELSEWHERE IN NEW ENGLAND
Lamont Gallery at Phillips Exeter Academy
Edward Weston: Life Work (Sep 14–Oct 23, 2002),
Mon–Sat 9–5; Wed 9–1. 20 Main Street, Exeter, NH
03833. 603-777-3461. www.exeter.edu
Radiant Light Gallery
Men Wearing Only Light: Roy Blakey’s 70’s Male Nudes
(thru Oct 5), Sat 11–6; First Fri 5–8pm; by appt.
142 High St., Ste. 315, Portland, ME 04101
207-252-7258. www.radiantlightgallery.com
Salt Institute for Documentary Studies
Monhegan Island, Photographs by Amy Toensing
(Jul 11–Oct 2), Mon–Fri, 11:30–4:30; First Fridays
5–8pm. 110 Exchange Street, Portland, ME 04112
207-761-0660. www.salt.edu
EDUCATION
The French-American Collaborative and The Art
Institute of Boston will hold the 7th “Photography
as An Art” Workshop in Guadeloupe from November
24–30th, 2002. The workshop will cover camera and
film basics, color theory, the physiology and psychology of vision, composition and the correlations
between photography and art. Readings will include
standard photographic texts as well as essays from Virginia Woolf, Proust, Roland Barthes, Luc Sante, EH
Gombrich, etc. Artists in other media are encouraged
to apply. Though some camera experience is necessary,
in selected cases, beginners may be accepted. Costs
range from $995 and up depending on accommodation needs. College Credit for 1.5 credits is $150.
Call Regis de Silva at 617-492-8055 or check last
year’s website at www.geocities.com/facil_art.
Horizons to Go Travel Programs is offering “Idyllic
Ireland: From Dublin to Bantry Bay” from September
21–28, “Southern France: Provence!” from October
4–11, “Weekend In New York: Off the Beaten Path”
from October 11–14, and “Southern Utah: Land of the
Navajo, Valley of the Gods/Our Great American Outback”
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from October 19–26, 2002. For more information and
prices please contact Horizons to Go! PO Box 2206,
Amherst, MA 01004, or call 413-549-2900. Email:
[email protected].
Snow Farm, The New England Craft Program
will be offering two photography based workshops
in the fall. They include: Digital Printing on Fabric,
hosted by Jane Skafte, and Matting and Framing
with Pat Glaves. Both workshops will be held from
October 11–14, 2002. For more information please
contact Snow Farm at 5 Clary Road, Williamsburg,
MA 01096, or call at 413-268-3101, or email at
[email protected].
Tim Baskerville and Lance Keimig present The
Mystery of Morocco—A Photographic and Cultural
Adventure, from September 14–28, 2002. The photo
tour will explore the exotic country by moonlight,
and sunlight while focusing on the highlights of
Night Photography! For more information please
email [email protected] or call 1-800-633-0299.
www.thenightskye.com/wrkshp.html
Cape Cod Photo Workshops will be offering 4 workshops during the Fall of 2002. They include: Wetlands
and Barrier Beaches, with David Weintraub from Sept.
2–6, Tuition is $495 plus lab fee; The B&W Darkroom, A Master Class, with Ron Rosenstock from Sept.
2–6, Tuition is $495 plus a $125 lab fee; The Digital
Print, with Bob Korn, from Sept. 9–13, Tuition is $495
plus a $125 lab fee; and One on One, A Master Class
with Bob Korn. For more information please contact
Cape Cod Photo Workshops at 508-255-6808. P.O.
Box 1619, N. Eastham, MA 02651.
John Sexton Photo Workshops will be offering: The
Expressive Black and White Print, from Oct 22–27, 2002,
Tuition $700. For more information please contact
us on the web at www.johnsexton.com. John Sexton
Photography Workshops, 291 Los Agrinemsors,
Carmel Valley, CA, 93924.
The Maine Photographic Workshops will be offering
a large variety of Fall related Photography workshops
during the months of September and October. Subjects
include: Destinations such as Martha’s Vineyard Landscape, Fine Art, Nature, Color Photography, Vision and
Seeing and Photo I. For more information please contact
The Maine Photographic Workshops at 1-877-577-7700
or online at www.TheWorkshops.com. The Maine Photographic Workshops are located at 2 Central Street, PO
Box 200, Rockport, ME 04856.
Santa Fe Photography and Digital Workshops are
hosting a wide variety of workshops and programs this
Fall. For more information please contact Santa Fe
Workshops, PO Box 9916, Santa Fe, NM 87504-5916,
or call 505-983-1400, or visit our website at
www.santafeworkshops.com.
The Art Institute of Boston at Lesley College,
through the Office of Continuing and Professional
Education is offering Fall/Winter 2003 workshops in
Digital Media, Photography, Marketing, and Framing/
Matting. Inquiries may be directed to Diana Arcadiopone, 617-585-6729. www.aiboston.edu/EXTRA
ENTRIES-OPPORTUNITIES
The South Shore Art Center is placing a call for entries
for White, Black & Shades of Gray —exhibition dates
November 15–December 31, 2002. $25/3 slides, $1200
in awards. $500 first prize. Open to all artists/all media.
Juror—Diana Gaston. Slide deadline October 16,
2002. Send SASE to South Shore Art Center, 119 Ripley Road, Cohasset, MA 02025 TEL 781-383-2787
website www.ssac.org
The Flat Street Center for Photography is accepting
portfolios for exhibition dates in 2003. Send 20 slides
min. of final prints for exhibition. The gallery will
charge a 30 % commission on work that is sold. Details
on other artists and gallery responsibilities can be
obtained by writing or calling the gallery that located
in Brattleboro, VT 05301. www.flatstreetphoto.org
2002 Gordon Parks Photography Competition is
seeking works reflecting the important themes in the
life works of Gordon Parks, such as social injustice the
suffering of others, and family values. For updated
rules and guidelines and more information please call
620-223-2700 or e-mail [email protected]
Call for entries—NEW YORK CITY, “Emerging
Artists 2003” International group exhibition to be
held in February 2003 at Limner Gallery. Open to
all media. $9000 in awards. Deadline for submissions
October 30. Send SASE for prospectus to: Limner
Gallery, 870 Avenue of the Americas, NY, NY, 10001
or e-mail [email protected]
P E G G Y
SIROTA
GUESS WHO?
SEPTEMBER 19 THROUGH DECEMBER 28
Reception September 19, 6:30 PM
67 Shore Road Winchester MA 01890 PH 781 729.1158
Tuesday through Sunday, Noon – 4:00
www.griffinmuseum.org
ADVERTISEMENT
Eric Lewandowski, Charles River Dam, gelatin silver print, 16"x5," 2001.
become a member of the prc
The Photographic Resource Center is a membership-supported, privately operated organization. In this period of dwindling government
and foundation support, your membership provides critical income to support our programming and educational mission. Join for the
obvious benefits listed below, but also for the more subtle perks. PRC members enter the network of the New England photographic
community, which includes commercial and artistic photographers, collectors, scholars, philanthropists, and critics, to name a few. If you
love photography and are interested in supporting our vital mission, join us — your tax-deductible membership does make a difference.
Name
P R C M E M B E R S H I P C AT E G O R I E S A N D B E N E F I T S
Address
Phone
Email
Individual ($45)
• Unlimited free admission for one cardholder
• Invitation for two to opening receptions, members-only
previews and special events
• Annual subscription to in the loupe
• Opportunities to present work in the annual Members Exhibition and Members Project Room
• Discounts at PRC lectures and workshops
• Discounts on portfolio reviews with
photography professionals
• 10% discount on PRC exhibition catalogues and
other products
• Discounts at area darkrooms and retail photographic
merchants
• CONNECTIONS (free admission to, or discount at,
select photography institutions across the country.
Contributor ($300)
• Supporter benefits plus
• Choice of photographic print from the Contributor Members Print Program level
Patron ($1,200)
• Supporter benefits plus
• Choice of photographic print from the Patron Members
Print Program level or a combination of prints from the
Contributor and Benefactor Members Print Program levels
(to equal $1,200)
Company Name
Student ($25)
• Individual benefits for full-time students only
(photocopy of ID required)
Angel ($2,400)
• Supporter benefits plus
• Choice of photographic print from the Angel Members
Print Program level or a combination of photographic
prints from the Contributor and Benefactor Members Print
Program levels (to equal $2,400)
• Invitation to annual Director’s Dinner
• Invitation to private reception with PRC Board of Directors
• Additional invitations to all previews and openings upon
request
• Free admission to all PRC lectures and workshops
Credit Card #
Family ($60)
• Individual benefits for two (two membership cards,
one mailing)
Supporter ($125)
• Family benefits plus
• Four guest passes for one-time free admission
• Annual PRC exhibition catalogue (when available)
• Invitations to special receptions, cocktail parties and
gallery talks
• Eligibility to rent the Center for private functions
(Corporate Member rental rates will apply)
Benefactor ($600)
• Supporter benefits plus
• Choice of a photographic print from the Benefactor Members Print Program level or two prints from the Contributor
level
Corporate
For information on becoming a Corporate Member,
please contact the PRC.
Address
City
State
ZIP
■ Employer’s matching gift form enclosed
■ New Membership
■ Membership Renewal
Payment Method(check one): ■ Visa
■ Mastercard
■ Check enclosed (payable to Photographic Resource Center)
Expiration Date
Signature
Return this form, or the requested information, with payment
(and copy of ID, if required) to: Membership Office, Photographic Resource Center, 602 Commonwealth Avenue,
Boston, MA 02215
The Photographic Resource Center is a non-profit, 501(c)3
corporation and membership fees are tax-deductible as allowed
by law. For information on tax-deductible portions of your
membership, please contact the Membership Office at
617-353-0700.
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