September | October 2002 - Boston Photography Focus
Transcription
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 ADVERTISEMENT 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 ADVERTISEMENT 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) HOME THEATER DEFINED When you choose a home theater or music system from Bang & Olufsen Newbury Street, you not only enjoy elegant and technologically advanced designs, but also a legacy of expertise and experience unmatched by any other Bang & Olufsen location in the country. Partnering with some of the most respected manufacturers in the industry, we can create a system that will amaze and delight you today and tomorrow. Be happy! Call or visit us today. 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USA limited warranty. ©2002 Nikon Inc. 3 ADVERTISEMENT 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. Rest assured. ® PETER MALY BED. Design: Peter Maly. Distinctive, understated furniture beautifully crafted in France. Selected designs available for immediate delivery. Visit us and experience the innovation and subtle luxury of L i g n e R o s e t . ADESSO NEW EUROPEAN FURNITURE, LIGHTING AND ACCESSORIES 200 Boylston Street, Boston (adjoining the Four Seasons Hotel) tel 617-451-2212 - www.adesso-boston.com Open 10-6 Monday–Saturday, 12-5 Sunday 5 ADVERTISEMENT 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. Great photos come in all shapes and sizes. 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Nikon Inc. now backs all U.S. AF and IX-Nikkor lenses with 5 YEARS OF PROTECTION!* Ask for details. 3 25 07 5 4 1 08 15 10 7 1.5 1.2 5 3 2 ft m M LI M ft m FU 24 IT LL 1: ft 50 50 35 KO R A FmNI K m Om 24-5 5 1: 3 - 4. 32 10 3 10 3 A AF N IKK IC R AF M 105 mm 1 :2.8 OR 3 5 -7 AF N 22 16 32 22 16 4 2.8 11 8 5.6 11 8 5. 6 3. 3 11 8 5. 6 M1 m =3 5 32 24 2.8 32 22 16 11 8 5.6 4 22 16 0m 1: 2. 8 35 70 O 3. 3 IKK OR 70 22 16 11 8 5.6 4 2.8 22 16 11 8 5.6 4 2.8 ft m 5 15 2 11 8 5. 6 35 m 1 :2 m 11 16 22 22 16 11 22 16 4 2. 22 16 11 8 5. 6 4 2. 8 8 2 2 For photography without compromise, only Nikkor lenses on a Nikonn will do. 7 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 ADVERTISEMENT 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 Trusted by professional photographers for over 60 years! YOUR DIGITAL & PHOTOGRAPHIC CONNECTION • Excellent Service • Huge Selection • Quality Products • Digital Mini-Lab • Film Scanners • Digital Printers • Albums, Folders, Folios & Frames • Discount Pricing • Digital Cameras • Digital Storage And a whole lot more! VISIT OUR SHOWROOM Mon-Fri: 8:30-5pm • Saturday 9-4pm 1-617-489-3311 1 1 B R I G H T O N S T R E E T, B E L M O N T, M A 0 2 4 7 8 Calumet is your one source. We know that there is no ordinary day in the life of a photographer. 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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 ADVERTISEMENT 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 ADVERTISEMENT 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). ADVERTISEMENT 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 ADVERTISEMENT • 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 ADVERTISEMENT 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 ADVERTISEMENT 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” ADVERTISEMENT 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. If Roget were alive today, even he would have trouble finding the right words. Introducing the Nikon D100™ digital SLR camera. The one you’ve been waiting for. ® How can you accurately describe a digital SLR like the new Nikon D100? 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