Issue: 20070101

Monday, January 1, 2007
Spring 2007
186
True
2007
Saturday, May 30, 2015
8/26/2015 7:21:45 PM

Articles
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EPSON: Epson Stylus Pro 3800
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EPSON
Epson Stylus Pro 3800
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ILFORD PHOTO HARMAN technology Ltd
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ILFORD PHOTO HARMAN technology Ltd
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NOTES
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NOTES
From the Editor
From the Executive Director
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The parameters of photography seem increasingly indefinable; even its most reliable manifestations are in a state of redefinition. We open this issue with a portfolio of work by South African portraitist Pieter Hugo—a photographer who has chosen an ostensibly straightforward genre, but who manages within it to pose provocative sociological questions.
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masthead
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Masthead
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Lexar: CompactFlash
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Lexar
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CONTRIBUTORS
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CONTRIBUTORS
CONTRIBUTORS' BIOS
TO SUBSCRIBE
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GERRY BADGER is an architect, photographer, and writer. He is the co-author, with Martin Parr, of Phaidon's two-volume Photobook: A History. FRANÇOIS BRUNET teaches American art and literature at University Paris 7—Denis Diderot. He is currently working on an exhibition of Western survey photography in French collections, scheduled for the summer of 2007 at the Giverny American Art Museum.
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UNIVERSITY OF TEXAS PRESS: RUSSELL LEE PHOTOGRAPHS
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UNIVERSITY OF TEXAS PRESS
RUSSELL LEE PHOTOGRAPHS
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REVIEWS
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THREE SHOWS ON TIME AND MOVEMENT
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Shelley Rice
Le Mouvement des Images was presented at Paris's Centre Pompidou, beginning last spring. Like many of the museum's recent shows, it was an ambitious, cast-of-thousands extravaganza. As part of a series of exhibitions designed to display the Pompidou's permanent collection, the show demanded of its curators that they look carefully at the issues—formal and conceptual—raised by the institution's holdings.
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REVIEWS
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CATHERINE OPIE: 1999 & IN AND AROUND HOME
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Susan Morgan
Sometime in the late 1990s, I heard Catherine Opie give a talk at the home of an art collector. Although she had already exhibited images of mini-malls and Hollywood façade architecture, Opie was still best known for an earlier series of bold and tender portraits— of people from her extended gay and transgendered community, and of herself—captured with cool equilibrium and mindful intimacy.
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Museum of Contemporary Photography
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Museum of Contemporary Photography
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The University of Sydney
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The University of Sydney
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REVIEWS
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ARAKI: SELF·LIFE·DEATH
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Amanda Hopkinson
Araki: Self·Life·Death was, it is fair to say, the most unexpectedly successful of last year's exhibitions at London's cavernous Barbican Art Gallery. It attracted larger audiences than any other show, and the museum's full supporting program of talks, films, and interviews did much to draw the record numbers.
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REVIEWS
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EVELYN HOFER RETROSPECTIVE
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Vicki Goldberg
Evelyn Hofer's photographs stop time, not in the sense of capturing an instant—if you're looking for an antonym to "snapshot," try "Hofer"—but by making whatever she looks at seem immobile, permanent, more still than stillness. Her images are unfailingly, rigorously classical, cool and precise, calm, and almost preternaturally quiet.
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G.GIBSON GALLERY
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G.GIBSON GALLERY
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REVIEWS
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JOEL MEYEROWITZ: OUT OF THE ORDINARY PHOTOGRAPHS 1970-1980
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François Brunet
To an uninformed eye, the Hôtel de Sully—a stately, seventeenthcentury mansion with a formal garden in the heart of Paris's Marais—might seem an incongruous venue for a show of Joel Meyerowitz's bright color pictures of Florida beaches, Cape Cod sunsets, and Times Square encounters.
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YOSSI MILO GALLERY
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YOSSI MILO GALLERY
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20,21,22,23,24,25,26,27,28,29
WITNESS
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PIETER HUGO: THE CRITICAL ZONE OF ENGAGEMENT
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BRONWYN LAW-VILJOEN
There is a notion that a simple image of a face cannot tell us anything reliable about the individual belonging to that face, or about the group or culture from which the individual derives. In response to this idea, portrait photography in the late twentieth century tended to follow one of two broad trajectories: the stripped-down, deadpan style of Thomas Ruff and others on the one hand, and the dramatic, dress-up self-portraits of the likes of Cindy Sherman and Yasumasa Morimura on the other.
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WORK AND PROCESS
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when a plant is not a plant THE BOTANICAL PHOTOGRAPHS OF JAY DEFEO
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Anne Wilkes Tucker
As an artist, Jay DeFeo worked with an impressive array of media—including oil, acrylic, tempera, pastel, gouache, ink, charcoal, wax pencil, graphite, and enamel—which she applied variously to paper, canvas, linen, and Masonite. She also made collages, photocollages, and photographs.
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WORK IN PROGRESS
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THOMAS HOLTON THE LAMS OF LUDLOW STREET
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Bonnie Yochelson
Thomas Holton first met the Lam family in 2003, while taking public-relations photographs for the University Settlement, an organization that has offered support to immigrants in New York City's Lower East Side and Chinatown for more than a century.
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ROADS LESS TRAVELED
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CLARE RICHARDSON & DAVID SPERO PROMISED LANDS
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JASON ODDY
From its inception, photography has been a bearer of conscience. Long before the traditions of reportage or "concerned" photography emerged, the medium's capacity to produce an afterimage of reality meant that the past could persist into the present.
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ARCHIVE
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ON THE ART OF LEE MILLER
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MARK HAWORTH-BOOTH
Lee Miller (1907-77) was for me, as for many, a legendary figure. I first learned about her from Man Ray's autobiography, in which she appears as his magical lover and creative accomplice. I never met her—I became curator of photographs at the Victoria and Albert Museum the year she died—but I heard about Lee from my colleague Carol Hogben, who had often been in her company at exhibition openings at London's Institute of Contemporary Arts, of which Lee's husband, Sir Roland Penrose, was chairman for many years.
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ON LOCATION
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DOMESTIC SCANDALS
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Takashi Yasumura
Takashi Yasumura's family home, a middle-class residence in Japan's Shiga prefecture, is the site for his series "Domestic Scandals." Formally precise and devoid of sentiment, these images of the quotidian—a rubber glove, a phone, a hose—possess an uncanny tension, as if implicated in the unseen "scandal" that his title references.
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MOONLIGHTING
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JESSICA LANGE PORTFOLIO
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MARY ELLEN MARK
Jessica Lange's photographs are extremely atmospheric and graphically beautiful. The images are very intelligent, but beyond that, they have true heart and emotion. Jessica is, of course, an extraordinary actress. I have had the privilege to photograph her several times over many years: first when she was a young mother with her baby daughter, Alexandra, and then again on the sets of films: Tootsie, Big Fish.
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DIALOGUE
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STEPHEN SHORE & LUC SANTE
The Nature of Photographs
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Stephen Shore's The Nature of Photographs was first published in 1998; the book developed out of his course on photography at Bard College, where he has been a professor for twenty-four years. Shore arranges his approach to photographs into three broad sections: the first describes the photograph as object (the Physical Level), the second considers the illusion that exists upon that object (the Depictive Level), and the third examines the quality of how the viewer processes and focuses on space within an image (the Mental Level).
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BOOKS
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UNSEEN UK: A BOOK OF PHOTOGRAPHS BY THE PEOPLE AT THE ROYAL MAIL
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Geoff Dyer
In the summer of 2005, every postal worker in Britain was offered a disposable camera with which to take photographs as they went about their daily business. Some twenty thousand pictures were taken, and the best two hundred of them—as selected by photographer Stephen Gill—are presented in Unseen UK: A Book of Photographs by the People at the Royal Mail (Royal Mail, 2006).
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EXCERPTS
SELECTED BOOKS
THE MOMENT OF SEEING: MINOR WHITE AT THE CALIFORNIA SCHOOL OF FINE ARTS
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Minor White strove to solicit a class of eight students for a private course "on the creative approach to photography" that would run from January until June 1954. His advertisement in Aperture claimed "the class will be expensive, demand hard work, maintain strict technical standards and require long hours," but the class never materialized because by November White had left San Francisco to begin work as an assistant to Beaumont Newhall, curator of photography at the George Eastman House in Rochester, New York.
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EXCERPTS
SELECTED BOOKS
ALEX HÜTTE: NORTH/SOUTH
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...Architecture has long held a dominant place in Hütte's photographs, as a point of departure and the main motif. Nature was rarely present in what seem to be objectively cropped images of claustrophobic streets, squares, subways, and passageways.
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EXCERPTS
SELECTED BOOKS
Martin Parr and Gerry Badger THE PHOTOBOOK: A HISTORY VOLUME II
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Computers and digital technology have, of course, meant that there are more photographs in the world than ever before. We can take photographs with our mobile phones and transmit them in a matter of seconds, a fact that is beginning to change the face of news photography.
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EXCERPTS
SELECTED BOOKS
SAUL LEITER: EARLY COLOR
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Several factors conspired to delay recognition for Leiter's vast body of noncommercial photographs, among which, it must be admitted, was an enigmatically subversive streak, combined with a measure of disdain for self-promotion; together with a solid artistic integrity, these tendencies were liable to be misinterpreted, and almost invariably were....
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FESTIVALS
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MOSCOW PHOTOBIENNALE 2006
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Michael Famighetti
The Moscow House of Photography's sixth biennial was, like its past incarnations, an eclectic affair, staged in a city bearing the inescapable hallmarks of an over-heated boomtown. The Gosudarstvenny Universalny Magazin (GUM) department store—the flagship of post-Soviet hyper-consumerism—provided a surreal context for the festival's opening night, with an impossibly long sushi and dessert spread and two roaming Playboy bunnies (Playboy was one of the festival's many sponsors).
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FESTIVALS
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BRIGHTON PHOTO BIENNIAL 2006
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Gerry Badger
The theme of this year's Brighton Photo Biennial, now an established fixture on the British photo-scene, was political photography—or rather political art: the media involved spanned through photography to installation and video. The ten main exhibitions brought together by the festival supremo, Gilane Tawadros, featuring twenty artists, looked in different ways at the thorny issue of how photography can represent—or misrepresent—the world.
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PHOTO ECHO
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APERTURE THEN: 1952
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FS DISTRIBUTION
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FS DISTRIBUTION
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Nikon: Nikon D2xs
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Nikon
Nikon D2xs
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