Issue: 20100202

Tuesday, February 2, 2010
Summer 2010
199
True
2010
Friday, January 30, 2015
8/26/2015 7:55:29 PM

Articles
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Table of Contents
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Kodak Professional
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Kodak Professional
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Editor's Note
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NOTE
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The Editors
"The places we have known do not belong only to the world of space on which we map them for our own convenience," wrote Marcel Proust in Swann's Way. "They were only a thin slice, held between the contiguous impressions that composed our life at that time."
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masthead
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Masthead
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CAMERA GEAR
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CAMERA GEAR
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CONTRIBUTORS
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CONTRIBUTORS
TO SUBSCRIBE
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DIANE ARBUS's photographs are on view this year at the National Museum of Scotland (Edinburgh) and at the San Francisco Museum of Modern Art. A retrospective is being organized by the Jeu de Paume, Paris; it will open in the autumn of 2011 and travel to other European institutions.
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Fraenkel Gallery
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Fraenkel Gallery
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10,11
REVIEWS
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THE PROVOKE ERA
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Lesley A. Martin
The Provoke Era: Postwar Japanese Photography, a show drawn from the permanent collection of the San Francisco Museum of Modern Art, offered a rare and welcome opportunity to examine material that is key to understanding the history of twentieth-century Japanese photography.
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REVIEWS
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JOE DEAL: NEW WORK
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Brian Sholis
It is not hard to see how the Great Plains might have driven early American pioneers to agoraphobic distraction. Photographer Joe Deal hails from this empty region, and after several decades cataloging the interaction of people and landscape, often in the farther American West, he has returned here for his new series West and West.
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13
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meta GALLERY
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meta GALLERY
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Aperture Portfolio Prize: International Photography Competition
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aperturefoundation
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REVIEWS
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FELLINI: LA GRANDE PARADE
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Vicki Goldberg
In 2003 when CNN squeezed the early days of the Iraq War onto the little screen, it presented the conflict as the prototypical, complex, contemporary viewing experience. Video footage, still images, crawling text, and dramatic station logos were all crammed into a single frame, an explicit acknowledgment that attention itself had become a multitask.
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CHARLES LANE PRESS
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CHARLES LANE PRESS
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16,17
REVIEWS
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ROBERT BERGMAN: PORTRAITS, 1986-1995
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Andy Grundberg
Seeing Robert Bergman's one-person show at the National Gallery of Art brought to mind a novel I started to write twenty years ago. The plot: an untrained, unsung street photographer is discovered by a savvy New York dealer and becomes the toast of the art world.
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18,19,20
BACKSTORY
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MICHAEL LESY: TIME FRAMES
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When I was twenty-one, I roomed with a guy who was a delivery boy for Technicolor Photo. He drove a Harley with a sidecar, back and forth between the plant and every drugstore in the city. On the way out, he delivered prints; on the way back, he carried film.
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D. A. P.
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artbook
Lee Friedlander: America by Car
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22,23,24,25,26,27,28,29
ON LOCATION
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PIEMONTE: KOUDELKA
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30,31,32,33,34,35,36,37
THEME AND VARIATIONS
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PHOTOGRAPHY & PERFORMANCE
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MARK ALICE DURANT
There is something iconic about the images of performance from the 1960s and '70s. The photographic documentatiotn of fabled Happenings and other actions—by the Fluxus artists, Viennese Actionists, Nouveaux Réalistes, and individuals associated with these groups, either closely or by influence: Joseph Beuys, Chris Burden, Marina Abramovic, Carolee Schneeman, Ana Mendieta, Vito Acconci, Yves Klein, Adrian Piper, and others—may strke us today like rarified chronicles of some lost tribe's obscure rituals.
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38,39,40,41,42,43
ROADS LESS TRAVELED
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For The Wild: Photographs by Kelly Poe
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SUSAN MORGAN
Above the South Dakota Badlands, the western sky is vast and numinous, bright, and fraught with the anticipation of sudden rain. The land below is ancient and deeply furrowed, a boundless expanse of pale-clay stone cliffs, a ghostly contour map created by the rushing waters of some vanished river.
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44,45,46,47,48,49
WORK AND PROCESS
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FLESH AND BONE: Unique Photographs by Richard Learoyd
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PEGGY ROALF
When you first encounter Richard Learoyd's beyond-life-size portraits, mainly of unconventionally beautiful women, you sense that the passage of time is expressed by their stillness: the repose through which they convey the powers they exert.
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50,51,52,53,54,55
WITNESS
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WEAPONS PLATOON: PORTRAITS AND NOTES FROM A U.S. MARINE CORPS BASE IN AFGHANISTAN
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STEPHEN DUPONT
They call this place Dashti Margo, or "Desert of Death." There's nothing here but sand and rock and endless baking horizon. If the homemade bombs don't kill you, the heat will. This is Helmand province, the Taliban's heartland. It's pitch-black out, and I'm crammed into a vehicle with three Marines, two other journalists, and a very nervous Afghan police chief.
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56,57,58,59,60,61,62,63,86,87
DIALOGUE
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THE KNIGHT'S MOVE: A CONVERSATION WITH PAUL GRAHAM
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AARON SCHUMAN
A look at three decades of Paul Graham's photography suggests a restless mind behind the camera. From his association with British color photography to his recent experiments with sequencing, Graham has continuously challenged expectations.
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64,65,66,67,68,69,70,71,87
MIXING THE MEDIA
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Open Ended Group: ARTISTS WITHOUT BORDERS
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DAVID FRANKEL
For all their importance and currency in art today, video and electronic media largely remain tied to flatness, the intrinsic quality of the screen on which their images appear. In other words, in visual terms they face the same problems, use the same formulas, that painters have been working with since the Renaissance and photographers since Talbot and Daguerre.
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PORTFOLIO
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Diane Arbus: CHRIST IN A LOBBY AND OTHER UNKNOWN OR ALMOST-KNOWN PHOTOGRAPHS
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ROBERT GOBER
Recently, sculptor Robert Gober was invited to study a little-known body of photographs by Diane Arbus, and to select from among them a group for exhibition at Fraenkel Gallery in San Francisco. Gober chose forty-eight works spanning the artist's career; the earliest of them was made in 1956, and the latest in 1971, the last year of Arbus's life.
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BOOKS
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IN THEIR FASHION
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Anyone with even a passing interest in fashion photography would have to agree that the ideal delivery system for a fashion photograph is a fashion magazine. Not only is the larger context essential to an appreciation of the photograph's underlying function (selling something), but the format allows the image to be viewed in its natural habitat—as one element in a sequence (or "story") that might go on for twenty or thirty pages.
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SELECTED BOOKS EXCERPTS
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STARBURST: COLOR PHOTOGRAPHY IN AMERICA, 1970-1980
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It took several years following John Szarkowski's wildly controversial exhibition Photographs by William Eggleston for the art world to fully absorb its impact and the implications for what in hindsight seemed like a bombshell. Although Eggleston's work was greeted sternly by critics of photography, the exhibition and its companion book, William Eggleston's Guide, reverberated well into the next decade and led to a full embrace of color generally and, in particular, photography's nascent rise as the defining medium of contemporary art.
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83,84
SELECTED BOOKS EXCERPTS
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GRACIELA ITURBIDE
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A woman is sitting in a cantina with a cigarette between her fingers and an empty glass in front of her. With an odd expression on her face, she seems totally lost in thought, oblivious of the photographer's presence. Behind her, an enormous skull painted on the wall provides a fitting narrative synthesis of a dissolute life: from miserable hotel room to hospital bed, and ultimately, to final resting place—a nightmare is being played out.
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84
SELECTED BOOKS EXCERPTS
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Reuben Cox: THE WORK OF JOE WEBB; APPALACHIAN MASTER OF RUSTIC ARCHITECTURE
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This book is not meant to be a taxonomy of the log homes designed and built by Joe Webb (1881-1950).... I have photographed all of Joe Webb's extant structures inside and out with the compulsive temperament of the average completist record collector but have chosen to present those images that best succeed as photographs....
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85
BOOKS
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W. EUGENE SMITH AND THE JAZZ LOFT
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Nicole Rudick
In 1957 W. Eugene Smith, desperate to complete his epic photographic "poem" to the city of Pittsburgh, moved into a seedy loft at 821 Sixth Avenue in New York City. He affixed some two thousand prints to the walls of his studio and down the stairwell, but "always there is the window," he wrote to his friend Ansel Adams in 1958.
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86
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CAPE COD museum of art
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CAPE COD museum of art
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87
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Sotheby's Institute of Art
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Sotheby's Institute of Art
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87
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FINE B&W
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FINE B&W
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MIND'S EYE
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JOHN WATERS ON LEE FRIEDLANDER'S "NY STATE," 2001
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Suppose you were a car and didn't know there were other cars. Especially ones that were a little different from you. Virgins. Never dented. Hoods unopened by any contaminated drivers. Imagine the exhilarating feeling when, out on your own for the first time and freshly escaped from your domineering owner, you see a whole truckload of fellow cars.
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89
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Freestyle: ADOX MCC 110
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Freestyle
ADOX MCC 110
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90
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RAYMOND WEIL: Noemia
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RAYMOND WEIL
Noemia
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