Issue: 20050404

Monday, April 4, 2005
Winter 2005
181
True
2005
Wednesday, May 27, 2015
8/26/2015 7:08:55 PM

Articles
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Nikon: Nikon Pro
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Nikon
Nikon Pro
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Advertisements
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Epson
Epson UltraChrome K3
Epson
Epson Stylus Photo R2400
Epson
Epson StyIus Pro 4800
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SONY: VEGAS MOVIE STUDIO+DVD
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SONY
VEGAS MOVIE STUDIO+DVD
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NOTES
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NOTES
From the Editor
From the Executive Director
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Melissa Harris
Ellen S. Harris
Few artists have made the kind of long-term com mitment to their subjects that Mary Ellen Mark and her husband, filmmaker Martin Bell, have made. They first met "Tiny" on the streets of Seattle in 1983; the fruits of that meeting culminated first in Bell's landmark film Streetwise (1985), and in Mark's seminal book of the same title in 1988.
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masthead
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Masthead
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STEiDL
Joel Sternfeld
STEiDL
Ed Ruscha
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CONTRIBUTORS
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CONTRIBUTORS
CONTRIBUTORS' BIOS
TO SUBSCRIBE
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MARTIN BELL is currently working on a personal film project about New York City. FERNANDO CASTRO Is an artist and philosopher. His essay "Crossover Dreams" is featured in the award-winning book Image and Memory: Photography from Latin America 1867-1994 (University of Texas, 1998).
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DUGGAL VISUAL SOLUTIONS
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DUGGAL VISUAL SOLUTIONS
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REVIEWS
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IN SIGHT: CONTEMPORARY DUTCH PHOTOGRAPHY
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James Yood
Europe is currently marked by two seemingly contradictory but inevitable impulses: the urge toward international confederation, and a nationalistic insistence on the significance of place and/or ethnicity. “In Sight: Contemporary Dutch Photography from the Collection of the Stedelijk Museum, Amsterdam” is a survey exhibition of recent work by thirteen Dutch photographers: Hans Aarsman, Céline van Balen, Wout Berger, Koos Breukel, Wijnanda Deroo, Elspeth Diederix, Rineke Dijkstra, Marnix Goossens, Juul Hondius, Gerald van der Kaap, Bertien van Manen, Hellen van Meene, and Hans van der Meer.
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CAMARGO FOUNDATION
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CAMARGO FOUNDATION
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Aperture_20050404_2005_181_0012.xml
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REVIEWS
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MOMENTUM 4: ROE ETHRIDGE/COUNTY LINE
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Ann Wilson Lloyd
Roe Ethridge (who is New York-based and practices both fine-art and commercial photography) is adamant that the only theme running through his work is no theme at all. Ethridge claims no identifica tion with current or past photographic categories, and his various methods, which include embracing processing mistakes and digital tweaking, are, he has said, to ensure that "I don't fall into the old idea of seeking truth."
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DUKE UNIVERSITY PRESS
THE WEATHER AND A PLACE TO LIVE
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Aperture_20050404_2005_181_0015.xml
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REVIEWS
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ARTIST TO ICON: EARLY PHOTOGRAPHS OF ELVIS, DYLAN, AND THE BEATLES
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John Howell
In the beginning, rock 'n' roll was the beat—or was it the image? "Artist to Icon: Early Photographs of Elvis, Dylan, and The Beatles" offers a fascinating look at the birth of this musician-to-mythicimage process, which emerged as unexpectedly as the music.
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EYEMAZING
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EYEMAZING
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ART PHOTOGRAPHY NOW
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AN-MY LÊ: Small Wars
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REVIEWS
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THE PERFECT MEDIUM: PHOTOGRAPHY AND THE OCCULT
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Lyle Rexer
In this vast, spectacular, bizarre, and excruciatingly detailed exhibition, there was another, even more compelling exhibition struggling to get out. I'4ll get to that later, but at the outset it is important to say that this is one of those historical exhibitions of photography, not pegged to a particular artist, that only the French seem willing or able to do on such a scale.
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REVIEWS
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CHRISTIAN BOLTANSKI
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Cornelia Lauf
In a recent documentary film on Christian Boltanski, the artist confesses that at this point in his career, “je ne sais plus vraiment ce que je fais”—I do not really know what I am doing anymore. For almost thirty years, this unknowing has accompanied Boltanski’s ever more focused desire to show the limits of knowledge.
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THE SIDNEY HILLMAN FOUNDATION
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THE SIDNEY HILLMAN FOUNDATION
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REVIEWS
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THE GAZE OF DESIRE
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Vicki Goldberg
Exhibitions of Surrealist art appear with the lugubrious regularity of melting watches, but even outside museums, surrealism is never far away. Ever since artists responded to André Breton’s demand for “convulsive beauty” and invested in the juxtaposition of incongruous objects (like the encounter of a sewing machine and an umbrella on a dissecting table), contemporary life has played along.
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BEFORE THE LENS
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TINY-ERIN Photographs by Mary Ellen Mark
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Mary Ellen Mark
Martin Bell
In 1983, Mary Ellen Mark and her husband, filmmaker Martin Bell, met thirteen-year-old “Tiny”—Erin Charles—a young girl living on the streets of downtown Seattle. Their harrowing book Streetwise, and the corresponding documentary film project (which premiered in 1985), brought audiences into the life of Tiny and her friends.
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MIXING THE MEDIA
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LAMENT OF THE IMAGES
ALFREDO JAAR AND THE ETHICS OF REPRESENTATION
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ABIGAIL SOLOMON-GODEAU
In August of 1994, four weeks after the genocide in Rwanda had taken its course and an estimated one million Rwandese men, women, and children, mostly Tutsi, lay slaughtered, Alfredo Jaar arrived in Kigali with his assistant, Carlos Vásquez, bringing with them film, cameras, and other recording material.
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ROADS LESS TRAVELED
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elena dorfman: still lovers
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SUSAN MORGAN
"Still Lovers," a series of photographs by Elena Dorfman, focuses on the at-home lives of Real Dolls™ and their human companions. Each Real Doll™—produced by Abyss Creations and billed as "the world’s finest love doll"—is handmade, custom built, and sexually available.
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WORK AND PROCESS
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ESTEBAN PASTORINO DIAZ: A VIEW FROM SOMEWHERE
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FERNANDO CASTRO
In his 1986 book The View from Nowhere, philosopher Thomas Nagel compares an understanding of the world that filters out the viewer's subjective traits to a vision "from nowhere." By comparison, being somewhere and viewing the world from there thus becomes both a critique and defense of the detached and objective view of the world with which photography (like science) is often associated.
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62,63,64,65,66,67,68,69,70,71,72,73
ON LOCATION
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ISTANBUL PORTFOLIO BY ALEX WEBB
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WORK IN PROGRESS
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WILLIAM EGGLESTON LAS POZAS
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It could be said that William Eggleston’s most recent work-in-progress represents something of a departure for the photographer. The images on the following pages show a very small selection of his recent project using the Hasselblad XPan this past spring.
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FESTIVALS
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FASHION AND STYLE IN PHOTOGRAPHY, MOSCOW
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Michael Famighetti
One can only guess how Nikita Khrushchev or Leonid Brezhnev might have reacted to a group of photographs gathered under the rubric "Generals of the 1970s: The Modest Chic of The Soviet Epoch." The images were on view this past March at the Moscow House of Photography’s fourth festival titled "Fashion and Style in Photography."
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EXCERPTS
SELECTED BOOKS
Alex Van Gelder LIFE AND AFTERLIFE IN BENIN
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Okwui Enwezor
For sure, Alex Van Gelder's approach in pulling together this collection is not quite unconventional. It is on the other hand consciously dissident in the context of recent interest in African photography, most of which tends to focus on the highly stylized, formal portraits produced by a number of important photographers.
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EXCERPTS
SELECTED BOOKS
Jonathan Moller OUR CULTURE IS OUR RESISTANCE: REPRESSION, REFUGE, AND HEALING IN GUATEMALA
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Francisco Goldman
Many of Jonathan Moller’s exhumation photographs were taken in Nebaj, in the Ixil triangle, the scene of so many of the massacres and other human rights abuses (murder, torture, rape...) committed by the Guatemalan Army throughout the country’s thirty-six-year civil war.
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EXCERPTS
SELECTED BOOKS
PORTRAITS OF AN AGE: PHOTOGRAPHY IN GERMANY AND AUSTRIA 1900-1938
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Monika Faber
The rules of portrait photography were rewritten in the period between 1900 and World War I, new poses and gestures were introduced, and the use of light and props were tuned to the demands of the upper-class client. Many members of the turn-of-the-century elite chose to forgo a portrayal typical of their class or profession and instead, together with their photographers, actively sought ways of giving their portraits an individual touch.
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FESTIVALS
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PHOTO-LONDON 2005
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Jason Oddy
In May, the second annual photo-london took place in the city for which the festival is named. Much expanded from its inaugural incarnation in 2004, this year photo-london included work from places as disparate as edgy East End galleries and the august Victoria and Albert Museum on the other side of town.
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MIND'S EYE
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GEOFF DYER ON JACQUES HENRI LARTIGUE’S CAP D’ANTIBES, 1953
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This picture was taken by Jacques Henri Lartigue on the Cap d’Antibes in 1953. He was almost sixty by then, had been photographing for half a century. Propped up on a lounger on the terrace of some presumably luxurious house or hotel, the woman in the photograph is wearing a swimsuit and one of those fun wigs made of strips of colored paper that you can buy in party shops.
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Freestyle Photographic Supplies
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Freestyle Photographic Supplies
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Canon: EOS 20D
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EOS 20D
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