Photography Quarterly #66

MISSION: The Center for Photography at Woodstock provides an artistic home for contemporary photographers with programs in education, exhibition, publication, fellowships, and services which create access to professional workspace, nourishing responses, and new audiences. The Center acknowledgessupportfrom the New YorkState Council on the Arts and the National Endowmentfor the Arts.

STAFF: Executive Director, Colleen Kenyon; Associate Director, Kathleen Kenyon; Assistant Director, Lawrence P. Lewis; Program Assistant, Kate Menconeri. WPW 1996 on-site manager, Fawn Potash. BOARD OF DIRECTORS: Sheva Fruitman, David Hall, Rollin Hill, Kenro lzu, Colleen Kenyon, Arie Kopelman, Rebecca E. Lawton, Ellen Levy-President, James Luciana, Joan Mack, Tanya Marcuse, Kitty McCullough, Elliott Meisel, Marc Miller, Jose Pica yo, Lilo Raymond, Ken Shung, Alan Siegel. ADVISORY BOARD: Norton Batkin, Ellen Carey, Philip Cavanaugh, Susan Ferris, Cheryl Finley, Julie Galant & Martin Bondell, Howard Greenberg-Founder, Sue Harrshorn, Bill Hunt, Greg Kandel, Peter Kenner, Peter MacGill, Ann Morse, Sandra S. Phillips,). Randall Plummer, Ernestine W. Ruben, Kathy Ruttenberg, Julie Saul, Susana Torruella-Leval. ARTS ADMINISTRATION INTERNS: Meg Gilboy, David Velez.

PHOTOGRAPHY Quarterly #66, Vol. I 7 No. I, ISSN 0890 4639. Copyright© 1996 the Center for Photography at Woodstock, 59 Tinker Street, Woodstock, New York 12498. TEL: (914) 679-9957. FAX: (914) 679-6337. Email: CPWphoto.@aol.com. Catalog essay © 1996 Larry Fink and David Karp. All photographs and texts reproduced in this Quarterly are copyrighted by the artists. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the Center for Photography at Woodstock. The opinions and ideas expressed in this publication do not represent official positions of the Center. Printing by Kenner Printing Co., NYC. Editing and design by Kathleen Kenyon. Assistant Editor: Kare Menconeri. Copy editing by Teri Roiger. Composition by Digital Design Studio, Kingston, NY. The PHOTOGRAPHY Quarterly is distributed by Bernhard DeBoer, Inc., 113 East Centre Street, Nutley, New Jersey 07110; Desert Moon Periodicals, Santa Fe, New Mexico; and Fine Print Distributors, Inc., Austin, Texas.

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Founded in 1977, the Center is a nor-for-profit 50 I (c)(3) arts and educational organization. Our services include: darkroom, library, slide/video archives, permanent print collections, slide registry, classes, lectures, film/video screenings, workshops, gallery talks, internships, portfolio reviews, and membership. Center galleries and educational resources are free and open to the public Wednesday through Sunday, noon to 5 pm.

FRONT COVER: © Gay Leonhardt, Untitled (figure with shells), I 996, assemblage

introduction

familiarrelations

patronprints/centermembership album

opportunityknocks&notedbooks inlight:melissazexter

PHOTOGRAPHYQuarterlyindex

pictures of people relationsandrelationships associatesandassociations brotherandsister motherandfather cousinsandkin children family friendandlover culture,class,andrace connectionandcommunity domesticscenes houseandhome fellowship socialplaces shelterandsanctuary fluidnotes essentialfaces

- kathleen kenyon, editor

© Cecilia Hirsch, Simone at Rest, August, 1993

© Patricia Mazza, Chatham, New Jersey, 1994

familiarrelations

larry fink

If one were a critic whose only consideration for analysis was strict reference to stylistic influence, that critic would createa deadening list of photographers whose ;~print has been seen and felt by the artists featured here.

For each Ralph Eugene Meatyard there is an equivalent, for each David Heath, there is an equivalent, each William Klein, each Irving Penn, each Roy DeCarava, each Eduard Boubat ...there is an equivalent. So many of the images chosen for Familiar Relations are close in spirit and style to work by the masters of our medium. This observation, perhaps fact, is a small miracle ...in a contemporary world fractured by greed and crime with vast canyons between the wealthy and the needy...fractured by failed psychology, by short and long-term memory loss, by intemperate history, even by postmodernism and art for profit. That these emotional masters, from other times, are referred to is not a testimony to art or photography but to life itself. The great themes of love and hate, hope and dread, are not dead. They are eternally in the process of being rediscovered, clefted, nuanced by experience ...still vital and incessant. Contemporary photographers can and do walk on water in the path for delivery, redemp- . tion, reassessment, and reaffirmation. However bad things seem, is exactly how good - with some luck - they may be. Life is the denominator, a leveling and heightening force; ...it is the inventor of style and the receiver of style's impact. Familiar Relations honors photography in its most descriptive fashion ...it describes life not without its dignity.

To curate this body of work was deeply heartening. It is so good, so emotive, and deep...homages so absolutely necessary for the children of our future. Thank you. - LF 1995

Aphotographerandprofessorat BardCollege,(Annandale-on-Hudson,NewYork),LarryFink'sphoto• graphsofAmericanculturehaveappearedinnumerouspublicationsincluding Life , New Yorker, New York magazine, New York Times magazine,and Rolling Stone. Social Graces,his1984 Aperture mono• graph,coversphotographicforaysintotwoworlds:the black tie setoffashionableurbansocietymen andwomen,andthe working class Martin'sCreektownofruralPennsylvania,acommunityinwhich Finkmakeshishome.Fink'sbookonboxingwillbepublishedin1997.Hisworkhasbeenexhibitedin soloshowsattheMuseumofModernArtinNewYorkCityandtheSanFranciscoMuseumofModern..,_ Art.AretrospectiveofLarryFink'sphotographsistouringinEurope.

gail albert (NewHaven,Connecticut)

Imakephotographstounderstand theworldaroundme.Ipressthe shutteratthemomentwhenthe literalfactsoftheworldtranscend. Iexaminetheroleofyourigwomen. Inlookingoutsideofmyselfatother youngwomen,Iamdiscovering myownplaceinsociety.

melanie eve barocas (Guilford,Connecticut)

Thecamerapointsinbothdirections.AsIexpressthesubjectIalsoexpressmyself.People preoccupiedwiththemselvesandtensionssurroundingthemcreateabarrieroftunnelvision. Weclearlyseetherutaheadofus,butourblinderspreventusfromseeingtheworldaround ustoo.Peoplearefrequentlyphotographedbutseldomportrayed.Iconsiderthesubjectand theexperiencesharedasmoreimportantthanthephotographitself.

phil alcabes (NewYork,NewYork)

Touchedbythelookofalonelyman. Ahandwavesforacab. Istopandseewomeninacrowd, afaceinsideatelevision, childreninawindow. Nextcrowdslipsby. Apainterfillshiscanvas. Amanleansonhiscane, andanotherremainsinplacelongenough forustowonderwhy.

Stillmomentsinabusyspace, reflectingoururbanworld, framingwhatwedonotseeinourhaste. Thelandscapeofourcities, filledwiththeseframes. Familiar,yetfullofwonder. Whenwenotice.

marion hoben belanger (NewHaven,Connecticut)

Istrivetomakevisual-thespacesthatexist asinconsistencies-asgapsinthelogical orderoftheeveryday.

alison bixby (NewYork,NewYork)

ThepeoplewhomIsurveyinformally (onthestreet)claimthatitisacoincidencethatonaparticulardaythey happentobewearingthesame clothesastheirfriendsorfamily. I stopmysubjects,askthemabout theiroutfits,anddiscoverthatpeople whoarerelatedarequitecomfortablewearingidenticalclothes.Since Idonotwalkaroundwithanyone whowearsthesameclothingas mine,itisinterestingtolookatthose whodo.Myphotographyisaselfexploration.IunderstandwhoIamin comparisontoothers.

(Unlessotherwisenotedall originalimagesareblack-and-white)

nan blake (Austin,Texas)

Ifsurrealismistheexplorationofunexpectedconnections,thenthemediumofphotographyisthemastersurrealist.Butthatseemstogoagainstphotography'suncannyabilitytofixalikeness(ortocontradictMagritte,thisisapipe).Asmagneticas therealcanbe,ourunconsciousmindsliketheunexplained,thedense,andthe mysterious.Whenphotographsconfusetheboundariesofgoodandevil,realandnot real,themindplayswithtruthandslipsintoabrewofconjecture.

Perhapsthatiswhyphotographyisthemediuminwhichtoportrayhumanrelationships.Alikenessisspecificinitsrepresentation,butjuxtaposedtoourlives,likeness isastand-inforourselvesandourkin.

karen bucher (LasCruces,NewMexico)

1956.It'slateafternoon,aSunday,andwe'reallridinginthecar,goinghome.My parentsinthefront,dadisdriving,withmybrother,sister,andmeintheback. We'retired,bickering,poking,andpinchingeachother.Asthesensitiveone,the bottomofthepeckingorder,theemotionaloutletofthislittlegroup,I'monthe vergeoftears.Dadjokinglythreatenstoturnaroundandgohomeifwedon't stop.Thensilence,drivingthroughthefarmlands,theroadisdesertedexceptfor ourcar.Ihaveafeelingofdesolation,asiftheBombhadfinallybeendropped andwedidn'tknowaboutit.Everyoneelsemusthaveheardandthey'resafein theirfalloutshelters.

Iwonderhowweareshapedintorolesintheflowofemotionsandintimacyinthe family.Iammotivatedtofindsituationswhichreplaycomplexitiesandformmy photographs.

l.g. carpenter (NewYork,NewYork)

IamdeeplyaffectedbythestrengthandlifeforceofthepeopleIphotograph. I photographpeopleassolitaryparticipantsinacitywhereitisdifficulttostopand acknowledgeindividuals.SinceNewYorkCityisburstingwithpeople,itisperplexingtodisregardtheflowing,breathingriverofhumankind.Concurrently,Ifeel soremovedfromthemainstreamthatfocusingonanindividuallifebecomesa waytosignificantlyreconnecttoacoreessenceofhumanity.Bothphilosophically andphotographicallyImakethoseconnectionsonepersonatatime.

laura crosby (Minneapolis,Minnesota)

Iamdrawntositesofhumanconflictandstruggle.Whatinterestsmeisthehuman needtoresistforcesofoppression.Eveninpublicarenas,thisneedispersonal. I exploretherelationshipbetweentheAmericanimageindustryandthewomenwho payforitsprofitsandprograms.Fashion,cosmetics,diet,fitness,media,and medicalconglomerates,sustainandprofitfromwomen'sanxietyandobsession. Thereisnothingwrongwithhealthmaintenance,physicalfitness,andadesireto bephysicallyattractive.Butwhatofthecommodificationofthebody,by an industry 0 whichmanipulateswomen'sself-esteem,hastremendousamountsofmoneyand ! riskstheirphysicalwell-beingtoattaintheindustryimageofbeauty?Imagesof womenarealteredbycosmeticsurgeons,make-upartists,photographers,and computerimagerswhocannarrowhips,flattencurves,andremovewrinkles. I makevisiblewhatisofteninvisibleanddocumentchanges:thedesire,the struggle,andtheexuberantrecognition.

martin dixon (Brooklyn,NewYork)

jackdavis (NewYork,NewYork)

AtmyolderbrotherMichael'sfortiethbirthdayparty,InoticedsomethinginaphotographthatI hadneverbeforeseen.Oneof..hiseyeswasstaringatme,acknowledgingmypresence.Michael wasdiagnosedtobeautisticandprofoundlyretarded.Hehasneverspokenanditwasnever obvioustomeifheknewwhqIwas.MikelivedathomeuntilIwastenyearsold,whenhewas broughttoliveatWillowbrook,amentalinstitutiononStatenIsland.Helivedthereuntilitwas closed(inthe1970s)afterwi'de-scaleabusewasuncovered.MyfamilyandIusedtovisithim there.TodayheresidesinagrouphomeinQueens,NewYork.

WherewasMichael?Whoorwhatwashe?Was1.likehim?Washelikeme?HowclosecouldI get?IfIgotcloseenoughwithmycamera,wouldIbeabletodiscoversomethingfromthepicturethatIcouldn'tseeinreallife?WouldIfindananswer?Iincludedtherestofmyfamilyintothe mix.HowwereweshapedbyhavingMichaelasafamilymember?Iwassearchingforaninkling ofclosenessorrecognition.IphotographedMichaelatdifferenttimesandplacesathishome;at hisdayprogram;atpartieswithfriends;atthegrocerystore.Iattendedhisquarterlyreviews wherehisprogresstowardpersonalgoalswerediscussed.Iwasastonishedthathecouldbe taughttosignforsomebasicneedssuchasdrinkandbathroom,butIwasn'tsurprisedthat althoughhecouldphysicallyformthewords,hedidn't.InresultofpursuingthisprojectIhave realizedthatMichaelisaperson.

terry dagradi (NewHaven,Connecticut)

Sometimes,awakenedbysunlight,theprocessbegins.Isearchforinspiration,sightsunseen,or revelationsthatmayleadmetorememberingadreamorreconstructingamemory.

IfeelclosetothesesensationswhenIputmyselfamongchildren.HowlongamIawelcome visitoroncemycamerabecomespartofmypresence?Ineverknow.ThecamerathatIuseto connecttothingsunknowniscapableofkeepingmeseparatefromthemoment.DoIphotographthehourofmyfather'sdeath,ordoIstayunshieldedbymycamera?WillIeverfindanotherwaytoexpressthepeaceandtheloss?

Atangleoftrees,apileofstones,agesture,anexpressionseizedinsilver,canconveyafeeling ofrelationship,asenseofclarity,ortheneedtocontinuesearching.IknowthatIamatraveler withoutaticketorafinaldestination. "' cr,

ImakephotographsbecausetherearethingsinlifeIdonotwanttoforget. Photographyisaformofvisualcatharsis.Itkeepsmesane,balanced,and hopeful.Itallowsmetoseebeyondthedailytravailsofanunjustlife.Weare editorsbynature.Selectivevisionformsourideologies,becomesthecore

ofourbeliefs,andiswhatwechoosetosharewithothers.Ironically,allof thesocialillsofourgenerationwereformedbythissameprocess.Yet artistshavetheabilitytounearthparticulartruths.Allphobiasaretheresult ofmisinformation.Imagesshedlight,illuminateprejudices,anddispel mythsaboutlivesweknowlittle.

&

edward garbarino (LongValley,NewJersey)

Iamofyourshadow aspaint tothetipofyourbrush andyounourishme withcolor offeringyoureyes, inthedarkness ofmyroom litofonewindow itismytimetosee andIspeakofit withyou,in aplacewheremywords donotenterIcry foreachofus unable,tobethe other.

terry gydesen (Minneapolis,Minnesota)

Iliketowatch. Iwatch. Iwait. Whenthepiecescometogether, pressingtheshutter, freezingthemoment, thatspeakstothe ironyofhumanexperience.

ariel 'foster (Syracuse,NewYork)

TheseriesJustMarriedisbasedonaweddingstudiophotographers checklist:BrideLookingintoMirror,BestManfixingGroom'sTie, Daddy'sLittleGirl,FirstDance,TheKiss,Exchangeof Rings,Toastto theNewlyweds,RiceToss,andReceivingLine.Formany,theweddingwouldnotexistwithoutregimentedandspecificdocumentation; theeventisessentiallystagedforthecamera.Ifthisisthecase,why notconstructawedding(inastudio)forthepurposeofmakingphotographsasdescribedinthechecklist?Thesearenotthephotographs thatthestudiophotographerwouldmake.Throughthefocusonand enlargementofgestureandexpression,Idocumentasubjective experience.

suzannejacobson (VirginiaBeach,Virginia)

Memoriesofmypastarethefoundationformywork.ThefirstcameraIsaw wasin!ht)handsofmygrandmother.ShecametoAmericafromKiev, Russia,beforetheturnofthecentury.Hergoalofeducatinghersixchildrenwasthwartedwhenmygrandfatherdied.Myyounggrandmother, semi-JiteraleinEnglish,hadtofindwork.Shepurchasedasmallstudioin Portsmouth,Virginia,andbeganaself-taughtcareerinphotography.Asa youngglrl,Iwatchedherphotographandprint.Theexcitementandawe, asIsawtheimageappear,stillreturnswhenIprintfortyyearslater.

In1992,Dr.JohnFranklin,headoftheGeriatricProgramatEasternVirginia MedicalSchool,stimulatedmyinterestinthefastestgrowingpopulationof oursociety-seniors.Myinterestisprimarilyintheninetytoonehundred yearoldseniorswhoaremakingsignificantcontributions.Iphotographand interviewthem;theyhavemanylessonstoteachus.Welearnaboutlife andhowtoliveit.Onestatementringstheloudest:Theyarejusttoobusy todie.Ifeelprivilegedtophotographtheseindividuals.

(JamaicaPlain,Massachusetts)

Mybodyofworkpicturesmypartner'sfamily,whichhas,overthepastsixyears,evolved asithaswelcomed(theunfoldingofanewgeneration)thearrivalofseveralchildren.My domesticworldhasbecomecenteredaroundthechildren.Theyconnectwiththeirenvironmentandexperiencetheeventsofthedaywithanimmediatephysicalityandan etherealquality.Childrenembodythewonderofgrowth.Idescribethecharacterand spiritofthesechildren,andthisfamily,astheyarerevealedineverydayinteractions. I haveasenseofurgency.Childhoodisintenseandfleeting.Ordinarymomentsrushbyin thechaosofdailylife,rarelyhonoredfortheroleinshapingindividuals.

Theadultsbothanchorandenablethechildren'spursuits,providingabalancebetween sustenanceandfreedom.Theyarepresentatthesidelinesasthechildrendiscovertheir world,oftenrediscoveringitthemselves.Thisexchangebetweenoldandnewisremarkable,complex,andpassionatelyhuman.

helen anrod jones (Norfolk,Virginia)

I'mlucky.Aphotographergetstomeetpeopleinallwalksoflife, doingallsortsofthings,inallkindsofplaces.Acamerahelps breakdownbarriersmine,theirs,yoursAsachildgrowingupin co Philadelphia,Iwastoldnottogo here,ornottogo there,be-8i causethosepeopleweretootough,toorich,toopoor,orsimply different.Thedirectivemademeendlesslycuriousaboutthe world.

I'mobsessedwithshowingpeopleastheyare,catchingtheir spirit,andlettingimagesspeakfortheminwayswordsnever will.Mybeliefisthatpeople,theworldover,aremuchmorealike thandifferent.

cecilia hirsch

greg laslc> (KansasCity,Missouri)

Morethan4millionAmericanshavebeendiagnosedwithAlzheimersDiseaseorrelated disorders.InSeptember1994,mygrandfatherbecameoneofthem;diagnosedwith multi-infarctdementia,andhenowlivesinthelong-termcarefacilityofahospitalin easternOhio.

Alzheimersiscalledthe LongGood-bye.Myfather,likeallofthose4millionfamilies, facesthepainfulironyofaconditionthathasstealthilystolenhislovedone,butnot quite.Hisfatherisaliveandwellbymedicalstandards,butwedon'tknowifheunderstandswhoweare.Alzheimerschallengesthenotionoflifeanddeath,betweenconsciousandconsciousness,andunlikeexperienceswithmostterminaldiseases, familiesdealingwiththisconditionoftenmissthesupportoffriendsandneighbors. Theyareleftalone.

IbeganshootingthisprojectlastJanuary;Iwastouchedbytheloyaltyandloveofmy fatherforhis,andthesacrificeshehasmadetobewithhisparents.Caregiversare specialpeople.IdedicatethisprojecttothemandIhopemygrandfather,alife-long advocateforseniorcitizens,approves.Ithinkhedoes.ButIwillneverknow.

(PortolaValley,California)

Mychildhoodmemories-thefieldbehindmyparentsisplantedwith summercorn;inwinteritopensontostark,grayvistas.Thelandscape holdsmyparentsastheyholdoneanother,andmythoughtsholdthem. Myfatherseemsmorefragilethanthepreviousyearandhisgaitisless steady.Evenso,hisdeathfivemonthslaterjoltsme.Ananchorislost. Photographsarecontainersoflifeexperiencewithunfoldingjoyand powerfulgrief.

liz linder (Boston,Massachusetts)

ForthepastsevenyearsIhavefollowedthegraduallossofmygrandmothertoAlzheimersdisease.Itisbewilderingtoloseaperson.With mycameraIlocatethefragmentsinsideofheroutsideremains.Iam fascinatedwiththemindlessnessthathasreplacedthewomanIknew. Herphysicalformenduresbutsheisemptiedofmemory.The Alzheimerspatientnolongerassumescontainmentofpersonalhistory. Manyofitsvictimsremainunseenandunheard.Theylosetheabilityto articulate.Thesenseofshamesurroundingthisdeclineofselfisdisheartening.Likemanyothers,AnnaUlanoffisisolatedinanursing home.Exposingthequalityofthisdiseaseforcesacloserlookatour unnaturallyextendedlives.

sara leith-tanous

susan lipper (NewYork,NewYork)

Thecollisionofmyexperiencesarein thetangibleworldandnaturephotographs.Realityisfascinatingbuthopelesslysubjective.Thisisarticulatedby photographicpropertiestowhichpicturesareinevitablybound.Iphotograph tolearntheappearanceofthingsand myfeelings.

Thisisavisualdiary(encompassing conflictingthoughtsandfeelings)of maleandfemalerolesportrayedwithin thedynamicsofeverydaylifeandalso thefamily.

luis mallo (Brooklyn,NewYork)

Imagesofpassengersembodiedbyhands.Atfirst glance,theimagesseemrepetitiousduetosimilar composition.Thepatternreinforcesthecharacterizationofacollectivenature,thatiscentralinthis work.Theabsenceoffacialfeatureserasesidentity ofindividuals,creatingahomogenousentity

Whenlookedatreflectively,theimagesproject subtledifferences. A repressivetendencyPresentin societywhichratifiesthedilutionofindividualistic~qualities(butatthesametimeallowsforasophisticatedlevelofdiversificationtoflourish)isintroducedl" asaparadigmforculture.Thepassengerisina stateofinternaltransitionandanxietybytherealizationoftemporality.Thesefactorsexpressaneedfor amorecomfortableconveyance,onewhichmay providetheanesthesianecessaryforadifficult journey.

melinda. maguire (NewYork,NewYork)

Iphotographchildrenwhosefamilies traveltheroadsofIreland.Knownto manyas tinkers,theyrefertothemselvesas travelers.Theytravelby hitchingtheircaravansondesolate lanesoffthemainroads.Intheearly daystravelersweretinworkerswho fashionedandsoldpots,pans,and kettles.Travelerstendtohavelarge families.Livingconditionsarepoor. Momentsofdividedemotionsbetweenfamilymembersareimportant tome.Maturityintheireyes,dirty hands,softsmiles,hardstands;these childrenarerawLikestonesrollingin thedirt,dealingwithwhattheyare dealt,thechildrenaretangledwith eachother,theyarefamily

annu matthew (Layton,NewJersey)

ThisimageisfromthebodyofworkDavid& Adinawhichshowsmymost intimaterelationship;itisaninvolvementwithapersonoutsidemyculture thatdevelopeddespiteourextremedifferences.Ishowmyloverandhis daughter,Adina.Despitehisdivorceandhisday-to-dayseparationfromher, Adinaisimportanttohimandtome.Theimagesaremeanttobemetaphorical.Theyspeakofcloseness.Iconcentrateonmyintimaterelationshipsina processofself-discoveryThecameraallowsmetoexploretheinfluencesin mylifeandunderstandthechoicesImakeasanIndianwoman·

ann paterra

(Austin,Texas)

Snapshotsaregenerallycolorimagestakenbyamemberofthefamilyateventsorrituals;birthdays,weddings,vacations,holidays.Snapshotsseemtoconfirmthestrengthofthefamilyandaskfew,ifany,questions.Theintentofsnapshotsisnottoquestion buttoconfirmthattouchstonemomentsofidealfamilylifearereached.Innocenceisatrademark.

InmyphotographsIexplorewhathappensinbetweenfamilyrituals,andwhathappenswhentherearenofamilyrituals.Iquestion thevaluesandidealsrepresentedintraditionalfamilysnapshotsbyexploringnon-traditionalrelationshipsorroles.Thequestions raisedmaynotalwayshaveanswersand/ortheymaybedifferentforeachviewer.Theremaynotevenbeasingleanswer.Each viewerkeepstheirownsetofsnapshotsintheirmind.Eachfamilyalbumisthesame,yetdifferent.Bydescribingthosedifferences aseloquentlyasIcan,Imakeviewersalerttovisualmomentsintheirdomesticspacesandfamilialrelationships.

(Philadelphia,Pennsylvania)

MyfatherdiedofadiseasecalledamyotrophicLacteralSclerosis(LouGerig'sDisease)whichisa neurologicaldisorder.Thedeathofmyfatherhaschangedmyfamily'slives.Myphotographyisan ongoingexplorationofmyidentityandhowIhaveevolvedasawomanlivinginasingleparenthousehold.Iamevaluatingthevaluesandtraditionsofwomen'srolesinthefamilystructure.Myimages containmetaphorswhichIhaveusedwithportraits,objects,andspacesinthehometocommunicate theoftenpainfultruthsthatexistwithinthefamily.

Myuseofphotographiclanguagecreatesanedgeofpsychologicaldrama.Iwasraisedasacatholic andtheworkcontainssymbolismderivedfromthereligion,suchasdramaticlightandreligiousicons. Thelightinthephotographscreatesaboundarybetweentheinteriorofhouseandtheworldoutside. Thehousebecomesacontainerofloss,(concealedwithinthehouse),andofthosewholivewithin.

(Hewlett,NewYork)

ThispieceisaboutanexplorationoftherelationshipIhave withmyfather,amanwhomIwasnotsurehowhehadfelt aboutme.AsIenteredpubertyourrelationshipdeteriorated. Amanisnotsupposedtolookathisdaughterandseea sexualbeing.Ifhedid,hemayseethewoman/motherhe neededbutfrightenedhimaway.

FromworkingwitholdfamilyphotosIseehowateaseIwas withinmyownbody,withmysexualityandIseerfiYfather comfortablewithmybeing.

danielle picard

nancy schneider

annashaw (Manchester,Massachusetts)

Formanyinmid-life,discoveriesarelayeredbetweenthenewexperiencesof one'schildrenandthememoriesvoicedbyone'sparents.Onelooksbackwardandforward.Oldbuildingscarrymemoriesofformergrandeurandof presentdisrepair.Thelayersofpeopleandhistoryconnectedtotheplace allowfurtherdiscoveries.Romanticizedmemoriesarejuxtaposedwithrealities ofwhatthosememorieshavebecome.Mymotherremembersaclosetina dustyoldmansionwhichwasfullofamusingoldhats.Idiscoveritisstillthere, andcombineitwithapictureofthechildrenwhogrewuptowearthosehats. Adisintegratinggreenhousecarriesimagesofbettertimesthroughslides projectedonitssurfacesandre-photographed.Memoryandpeopleare brokenliketheglassshardsattheirfeet.

martha sheperd (EnosburgFalls,Vermont)

IliveinaruralpartofnorthernNewEngland andIphotographtheruralpeopleinmycommunity.Womenandtheirissuesrevolve aroundrelationshipswiththeirkidsandmen, hardwork,andmoneyorlackthereof.Ina bucoliccommunitythemostbasicneeds necessitatehavingdependabletransportation. Forwomenwithlowincome,keepingacaron theroad(especiallyinwinter)canbeafulltimejob.Well-meaningneighborssometime turnablindeyeondomesticviolence.Itryto makevisible(ratherthantoreproducethe visible)candidpicturesthatshowwomen copingwithdisappointments,celebrating triumphs,andfollowingroutines.Iamboththe observerandtheobserved.Itransformthe ordinaryintotheextraordinary.

(LosAngeles,California)

Theartistwishestomake nostatement.

(Rochester,NewYork)

Forwomenofmymother'sgenerationchildbearingwasnotachoice. Womengotmarriedandhada family.Timingwasmymother'sonly choice.Ihadtheadvantageof decidingtohavechildrenornot.To showthechangesinmybodyas mypregnancyprogressed,Iphotographedmyselfnude.Nudityis relatedtosex,andsexisrelatedto pregnancy,butmotherhood is sacred.Saintandsinner,wecan't haveitbothways.Selfportraiture equalizesissuesofrepresentation: Iamatoncetheimagemakerand thesubject.

stevesmith

nancy stuart

(Washington,D.C.)

GrowingupinSilverSprings,Maryland,meantplayingbasketball. I wastheWhiteShadow,anickname(afteraoncepopulartelevision show)givenbymyteammates.Iwastheonlywhitekidtomakethe sixthgradeteam.WhenIcametothecourtswithmycamera,severalformerteammateswelcomedmeintotheirregularpick-up games.TheplayerswerepuzzledthatIwasnotconcernedwithwho scoredthemostpoints,whowonorlost,orwhomadethemost flamboyantdunks.Myinterestlieswiththemomentsofaction.I capture(photographically)theartandspiritofthegame.Basketball, partofthemystiqueofAmericanculture,isthegameofurban America,wherethefieldofdreamsisanasphaltcourt.

(Allentown,Pennsylvania)

gracen:fitnessofproportionoflineorexpression;beauty;easeof movement;avirtuecomingfromGod.

Mybeliefthatappreciationofthesecularandecclesiasticalsetsus apartfromtherestoftheanimalkingdom,leadsmeonthepathto photographpeopleatspecialmoments.InmyphotographsIhope youfindelementsofgrace.

margaret sartor (Durham,NorthCarolina)

BornandraisedinnorthernLouisiana,Imakemostofmy picturesonthesamestreetsandinthesamehousesIknew asachild.Iphotographirregularly,returningonholidaysor vacationvisits.OnoccasionImakepicturesinmycurrent homeinNorthCarolina.Thisseries(begunadecadeago) hastakenshapeslowlyasindividualsandrelationships depictedhavenaturallyevolved.Whileeventsinmyadult lifeclearlyledtothisproject,I'mconvincedtheimpulse goesbacktomychildhooddiariesandscrapbooks. I chooseimagesandartifactstomakeastory.Likethose earlierlockedbooksandbulgingalbums,myphotographs depictapresentandrealworld,butalsoaworldimagined, seenthroughthedarkglassofmemoryandlonging. Home-itsboundariesanditshold-remainsfamiliarbut mysterious.

brad richman

norman sarachek

robert welsh (Alameda,California)

Asanintegrationspecialist,Ihelp peoplebecomemoreindependent in thelargersociety.Iviewthemas individualswithaspecialintelligence andcreativity.Ihavetaughtstudentsat theAla-CostaCenterfortheDevelopmentallyDisabledinBerkeley,Californiawithmoderatetosevere disabilities.ForfourandahalfyearsI photographedthestudents.Ishow themaspartofacommunityoffriends andasindividualswhohaveasignificantplaceinsociety.Inadditionto theirdisabilities,theydealwithurban life-aharshreality.ThroughmyphotographsIhelpothersunderstandthat allpeoplecontributetothecommunity, includingthosewhoareperceivedto bedifferent.Photographingyoung peopleastheydeveloprelationships witheachother,mature,enterthework force,andcontroltheirowndestiny, breaksdownstereotypes.

carole topalian (Ojai,California)

Onewayformetodiscoverandrediscover potentialmeaningsistoencountertheworld throughphotography.Thisisajourneyof awarenesstorealmswherebeingisambiguous,concrete,andinflux.Morethanadescription,morethananenvironment,more thanone'simagination,morethanourparticipation,theworldthatIcreateisafloating world.

emile wamsteker (Syracuse,NewYork)

Itisoftensaidthatwechooseapathinlife.Thatpathisourcalling,wayof life,vocation,orourpredicament.Thepathmaybewillfullychosenor forceduponusdependingonthegivencircumstances.Thosepathseschewed,orfromwhomweareshutoff,willforeverremainshroudedin mystery,andkeepusaskingthatnaggingquestion:Whatif?Thatwemust chooseonepathinlifeisinterestingtome.WhatIhavediscoveredabout photographyisthatalthoughitlimitsmetoonlyonepath,asinanyother vocation,itisapaththatmanytravel.Forexample,throughthecreatio~of thephotographicessay,Icanjoinsomeoneelsealongtheirpath,walkwith themforsometime,andlivevicariouslythroughtheiractions.Ialsoconnectthroughsimpleobservationsofstrangers,suchasthosecapturedin spontaneousstreetscenes,inthemarketplace,onbusesandintraindepots,anywhereyoufindaconfluxofmanylives.Inthiscase,everyimageis madefromthestreetcorner,sotospeak.Iusethewordpathasametaphor todescribewhatpeoplechoosetodowiththeirlives,whotheyare,why theyare,andwheretheyare.

FamiliarRelations,aCenterforPhotographyatWoodstockexhibition,Woodstock,NewYork,showsMarch3-March31,1996 andtravelstoWatershedMediaCentre,Bristol,England-May15,1996.

CENTERFORPHOTOGRAPHYATWOODSTOCK

Patron Membership Print Program

Each year the Center offers individuals the special opportunity to become Patron Members by selecting original photographs donated by nationally recognized artists. The Patron Membership category offers a unique opportunity to collect contemporary art at a reasonable value and support the arts. Membership contributions are tax deductible to the extent allowed by the law.

New offerings in this Program include:

also available are images by Anita Chernewski, Susan Ferris, Sheva Fruitman, Fawn Potash, Lilo Raymond, and Vincent Serbin. Please contact the Center for fully illustrated information. Write, call, or fax your print request now - all images are in limited quantities and selections change frequently.

In addition to prints, Patrons are listed in our internationallydistriburedmagazine, PHOTOGRAPHYQuarrerly,and receive all other Membership benefits, includinga one year subscription to the Quarterly,discounts on educationalprograms, lecrures,and workshops,reduced subscription rates rophotography maga:ines, and a complimentaryim•itationto our annual NYC Collector'sSymposium.

Tanya Marcuse Bridal Suite, 1996, platinum - palladium, 5x4" $500 Membership

Kenro Izu

David Hall Basketstar Arm, Indonesia , 1995, cibachrome, edition of 20, 20xl8" $500 Membership

Kenro Izu

Still Life #546, 1996, platinum - palladium, exclusive charity edition of 30,

Still Life #550, 1996, platinum - palladium, exclusive charity edition of 30, 14xl4" I lxl4" $1250 Membership $1250 Membership

album

david karp

Heavy, with once-gilt hardware and a small trapezoidal mirror set in the velvet cover, the photography album sits incongruously on a modern glass coffee table. Seen from above, it floats magically above the carpet, regal and weightless. It is smaller than I remember it, but no less grand. The worn and faded velvet of the cover is printed in a animal or floral pattern, mottled brown and gold, like a leopard or a palm.

Opening the album, I find my own face and the faces of my cousins on the bodies of people from another country, from other times. Working from penciled captions and half-remembered anecdotes, I reconstruct stories from the pictures, the mythology of my family.

thegraduate

Posedbeforeanagreeablyfakelookinglandscape,thegirlsitsstiffly onabench,holdinganenormousdiplomainhermanicuredhands.Itisa rollofthickvellumtiedwitharealsatin ribbon.Thisisahand-coloredJunior HighSchoolgraduationpicture,dated 1921,fromDzerzhinsk,USSR.She wearsawhitegownandmortarboard, boredtodistraction,keptalertonlyby thestrangeformalityoftheportrait.It seemstohavetakenhoursoffussing toachievethismoment.Perhapsher mindisalreadyonherfamily'simminentjourneytoAmerica.

Herhairisperfect,stylishly shortbeneathherabsurd academiccap.Junior highschoolgraduation wouldmakeherthirteenorfourteen,but inthispictureshe looksfullymature, preparedforany future.

thebathing beauty

Anenlargementof thispictureusedto hanghighonthewallof Sandra'sdiningroom, abovetheblondwoodcredenza.Shesaiditwasher youngersisterClara,whodiedin 1950.Adesertedbeach,oratleasta desertedpartofabeach,onwhicha youngwomanliesonablanketimitatingaclassicbathingbeautyposefrom the1930scinema,onherstomach,one legbentcoylyattheknee,footinthe air,herheadwrappedinafashionable turban-likebathingcap.Thedark, loosebathingcostume,probablyscandalouslybriefforitstime,sportsanunflatteringwhitebandaroundthemiddle bisecteditselfbyacontrastingbelt. Thewomanissmallintheframe,showinganexpanseofsandaroundherand theoceanbeyond,anamateurishcom-

positionemphasizingthestagedpose. Thereisnoevidencethatsheevergot wet.

Eventodayitfeelsmischievous,daring,strikingaposeonthebeach.Who wasthephotographer?Tobeallowed toseeherposelikethat,?ndtocaptureitonfilm?Aclosefriend,asister, alover?SandraandClarawereclose inage,indistinguishableinthatpicture ofthemworkinginthedressshopon theLowerEastSide.Iusedtofanta-

sizethatthepicturewasreallySandra, andthatshekeptitasamomentaof anoceansidepicnicwithsomedashingmanwhomshecouldnevermarry. Shedeflectedquestionsbyputtingher sister'snametothebathingbeauty, whilekeepinghersecretinplainsight inherownhouse.

Somewherethephotographer,ifhe stilllives,ifhereverlived,mighthave acopyofthisprint,eventhenegative, proofofthatbrightJunedaywhenhe

broughtapicnicbaskettothebeach tomeetthatbeautifulyoungwoman withtheexoticRussianaccent.

In the center of the cover of the album is a mirror, in a worn gilt frame in the form of faux-classical scrollwork and leaves, with a triangular pediment at the top. The mirror must be hand made, beveled on all sides, and almost trapezoidal, with the sides following the faint 5-curves of the frame. Sometimes it slides to the left or to the right, and a sliver of the album's velvet cover is visibleless faded then the rest. There are smudged fingerprints on the mirror's face from efforts to correct this slippage. I can see only a part of my face in the mirror whery I hold the album close enough to explore it.

honeymoon

Someexotic place,infrontof cavesorruins.The happycoupleembracesandlookstothe cameraforcedintothe handsofsomepassing tourist.Sometimeinthemidsixties,herhairdorisesinches overthetopofherhead,andhestill hashair.AsIlookclosely,Icanseethe firstsignsofthestomachcancerthat cametohersoquickly,socompletely, andirrevocablyjustayearlater.Or maybeIjustthinkIcan,imposingmy knowledgeofthepastonthishoneymoonpicturesomuchaboutthefuture.

thegonniff

To themodernviewer,everyfashionablydressedmanofthe1930sor 1940swithdarkfeatureslookslikea gangster.ItaliansorRom{mianswith 19

fedorasandtopcoats,barrel-chested menwiththickleatherglovesand double-breastedsuits,theirwomen frailbycomparison,clampedtotheir sides.Alltheseupstandingbusinessmenforevercastasshadycharacters byHollywooddetectivemovies.

ThisisapictureofUncleButchie andAuntFannie.Butchiehasthick eyebrows,knittedashesquintsintothe brightafternoonsun,tiltinghishead forwardtoshadehiseyeswithhis broad-brimmedfedora.It'swinter,and thefashionablydressedcoupleisout forastrollinthepark.

Butchielookslike,andactually wasagonniff,whichisYiddish for"agun-totingroughneck, someonewhoGodforbid youshouldmeetinadark place."UnclePhilused totellmeaboutUncle Butchie,whowasactuallyhisuncle,not mine.Detailswere scarce,andthe gruesomenessof Butchie'sultimate fatevariedfromyear toyear,butusuallyhe wasshotthroughthe eye,oneorboth.Ifiguredthatanyonenamed Butchiewasdoomedto alifeofcrime.

"Butbeforealltheugliness whichIwillnotgointonow, ButchieandhiswifeFannieposed forthispictureinKatonahPark.Lookat him,flushedwiththesuccessofhis business,andhisconscienceisuntroubled.IfhisbuddiesbackinNesvisz couldseehimnow,hewouldsay,they wouldbepositivelyillwithenvy.Fannie, she'sdressedheadtotoeinhismoney: thoseBettyBoopcurlsandthefurst9le withthefeetstillonit.Saywhatyoulike, thetwoofthemknewhowtodress."

WhateverButchiewasreallyupto, Philnevergotaroundtosaying;itwas eithertoohorribletospeakopenly,or soinsignificantastodishonorthemyth ofthegonniff.

theliontamer

Perhapstheoldestpictureinthealbum,this carte de viste appearsto datefromtheturnofthecentury.Inrefinedpre-Revolutionarystyle,the photographer'simprintisinFrenchas wellasRussian.Astudiosetting,completewithmottledbackdropanda fancywoodenchairwithhand-turned spindles.

Alittlegirloffiveorsixstandson theseatofthechair,holdingasmall

whipinonehand.Shewearsaformal dress,darkbrocade,withacameoat theneck.Oneofherbootedfeetbends attheankleinatimelessgestureof youthfulimpatience.Herhairisanunrulymassoftightblackcurls,framing herpale,round,doll-likeface.Hereyes arefixedonthelensofthecamera,and stareoutofthephotograph,daringme tolookcloser.

Itisdifficulttoimaginethemotivationforthisphotographofthislittlegirl,

nowahundredyearsold,whoseface Icannotbanishfrommymind.Whythe whip?Whyisshestandingonthe chair?Whowassheandwhodidshe become?

The pages are plates of thick cardboard, painted gold on the edges, and covered with primitively woodgrained paper. I find that the old-fashioned cloth binding has deteriorated since my last visit; some pages are all but detached, and others swing from a hundred threads instead of a single strip of buckram. The apertures for pictures are arched at the top, not a haughty, pointed gothic arch, but a more utilitarian factory window frame kind of arch. There are one or two openings per page, four small ones on some of the last pages, with a slot beneath each through which pictures are inserted.

cronies

Afadedprintfrom theearlydaysofcolor photography-thereds arealmostcompletelygone leavingshadesofbrownand greenandblue.Agroupofsix youngandmiddle-agedmeninsuits onamidtownstreetposinginfrontofa truck.Theirhatsandsuitsdatethepieturefromthe1950sorearly1960s. Stenciledonthesideofthetruckina colorthatoncecouldhavebeenred, "Dzerzhinsky-YoungFilmLaboratories, Inc.,1122Broadway,NewYork17, NY"

They'repuffedupwithpride,inthe midstofslappingoneanotheronthe backandlaughing,smokingcigars insteadofcigarettes.Perhapsitisthe newtruck,butmorelikelyinsomebusi-

,_nesssuccessthatisinvisibleinaphotographthirtyorfortyyearssince.The twooldermen',YoungandDzerzhinsky onemightsuppose(thesoftroundface withapenciltraceofmustacheonone isnotunfamiliar,)areatthecenterof thegroup,thefocusoftheyounger partnersandthesourceofthegroup's strength,theirarmsaroundeach other'sshoulders.Thetwomenare madebrothersbytheincorporation oftheirnamesinholybusiness matrimony.

theorchard

Differentfromtheothers, thisisamoderncolorprint, fourbysixinches,the so-called"jumbo"size fromacornerminilab.Anappleorchardinwinter,the skyisgrayand thereareno applesorleaves onthetrees.Betweenthegnarled branchesofoneof thetrees,ayoung womanmugsplayfullybehindmirrored sunglasses.Shewears thickwoollyglovesand hasacoldsorenearthe cornerofhergrin.

Thesmileissonatural,so ateaseinthisunlikelyplace.Posed butunselfconscious,hiddenbehind mirroredsunglasses,shenevertheless hidesnothing.Lookingcloselyather face,youcanseethereflectionofthe photographer,hisfaceobscuredbyhis cameraandwarpedbythecurvature ofthemirroredsunglasses.

Astrangemomenta-apictureof awomanwhosefaceishalfhidden,in aplaceofnoapparentinterest.There musthavebeennobetter(ornoother) picturesofthiswomanavailable,but shemustbesomeoneimportant enoughtobelonginthealbum. Sometimespeoplecomeandgoso

quickly,socompletelyorsurprisingly, thatonlythemostcausalorawkward souvenirsareleft.Atthetimeoflossor departure,familyandfrieridsdiscover thattheyhaveonlyasnapshotfroma vacationorfromabirthdayparty. Friendsdriftapartwithouteverhaving photographedeachot'her,nevercementingtheirrelationshipwithsilveror celluloid.

It seems impossible to remove the pictures from the album pages once they have been inserted. Perhaps thin tweezers could be employed, or else one might touch the surface of the pictures to push them back out, leaving fingerprints like those on the mirror. Some pages have telltale tears where someone has attempted too hastily or too forcefully to retrieve an image.

david karp makesphotographsandartistsbooksaboutthelandscapeofmemoryandthepoetryof ordinaryobjects.Hestudiedart atWesleyanUniversityin Middletown,Connecticut, artsadministrationatthe CenterforPhotographyin Woodstock,NewYork, andremainsaperpetualstudentand traveler.Hisvisual workhasbeenseenat theShorelineAlliance fortheArtsMillGallery inGuilford,Connecticut;theWarrenStreet GalleryinHudson,New York;andinthefoyerofhis parents'apartmentinNew YorkCity.Thewriterlivesin Somerville,Massachusetts.More ofDavid'sworkcanbereadonthe worldwidewebat: http://members. gnn.com/davidkarp/album.html

OPPORTUNITYKNOCKS/PROFESSIONALSERVICESFOROURREADERS

Center for Exploratory and Perceptual Art provides several opportunities for photographers including exhibitions, lectures, educational programs, internships, and residencies. Contact: CEPA Gallery, 700 Main Street, 4th Floor, Buffalo, New York 14202.

Center for Photography at Woodstock offers the Photographer's Fund Fellowship every spring, ~ear round professional training opportunities in .arts aoministration, and summer/fall Workshop int~mshTps. For details call, write, or fax: CPW, 59 Tinker Stc;Woodstock, NY 12498 T 914 679 9957 / F 914 679 6)J7~

The Gallery program at Eastern Washington University is seeking sub'missions for its new Electronic Art Gallery on the World Wide Web. Contact: Richard Twedt, Chairman/Director of Galleries Dept. of Art, MS-I 02 Eastern Washington University, Cheney, Washington 99004 or rtdedt@ewu.edu.

Houston Cetiter for Photographx seeks slidet or video for exhibitio . on ma_§culinity,scheduled Nove. ber, 199.6.Contact: MichaeJA'[)eVoll,Houston Center for Photogr:a hy, f'441 West Alab a, Houston Texas.

ARTISTS' COMMUNITIES

Anderson Ranch Arts Center PO Box 5598

~nowmass Village CO 8161 5 rhone: (303) 923-3181

Eax: (303) 923-3871

Tbe MacDowell Colony, Inc.

I o'oh-lig\ Street

Pete borough, NY 03458

Phone;. 535-9690

Fax: (60 ) 924•~142

Sleeping Bear Dunes National Lakeshore 9922 Front Street Empire, Ml 49630

Phone: (616) 326-5134

Fax: (616) 326-5382

The Millay Colony for the Arts East Hill Road, PO Box 3 Austerlitz, NY 12017

Phone: (5 18) 392-3103

The Marie Walsh Sharpe Art Foundation offers free studio spaces in Manhattan to visual artists 21 and over. Must be U.S. Citizen or permanent resident, and not in school at time of residency. Studios available for up to one year. Contact: The Space Program,Marie Walsh Sharpe foundation, 71 I North Tejon Street, Suite B, Colorado Springs, Colorado 80903.

Light Work provides one month artist-in-residence programs for artists working in photography and digital imaging, stipend and 24 hour darkroom/computer access included. Contact: Light Work, 316 Waverly Avenue, Syracuse, New York 13244 or 315443-1300.

NOTED BOOKS

TheCenterfor Photography at Woodstock'slibraryprovidesan invaluableresource,offeringthe abilityto studyworksfromthe birthof photography to the present.All individualsare invitedto takeadvantageofthisopportunity,freeof charge,WednesdaySundayfromnoonto 5 p.m. Wethankeveryonewhohasgenerouslydonatedqualitybooksto thisholdingandwelcomenew additions.Recentdonationsinclude:

DumontFoto3: DaslmaginarePhoto-Museum,byRenateund L.FritzGruber,DuMontBuchverlag,Kain,Germany,1981.

HomoFuturus,Sensations,andCluesto Myself,threeartist'sbooks byBarbaraRosenthal,VisualStudiesWorkshopPress,Rochester,NY, 1986,1984,1984.

Illusion:FiguresThatTheWindCarvedOnTime,photographsand textby MichiyoFujihara,InterPressCorporation,NewYork,NY,1988.

JosefSudek:Poetof Praque,biographicalprofilebyAnnaFarova, ApertureFoundation,NewYork,NY,1990.

LouStouman:Caughtin theAct- TheEarlyYears,introductionby AnneTucker,SingerPhotography,Petaluma,CA,1995.

ManRay:BazaarYears,byJohnEsten,introductionbyWillis Hartshorn,RizzoliInternationalPublications,Inc,NewYork,NY, 1988.

MuseumDesign:PlanningandBuildingforArt,byJoanDarraghand JamesS.Snyder,OxfordUniversityPress,NewYork,NY,1993.

TheNeugents:Closeto Home,introduction,textsandchronologyby DavidM.Spear,afterwardbyJonathanWilliams,TheJargonSociety, Winston-Salem,NC,1993.

TheOfficialMarshall'sHandcoloringGuideandGallery:TheTools and Techniquesof HandcoloringUsingMarshall'sMaterials,by GraceandGeorgeSchaub,JohnG.MarshallCompany,Deerfield,IL, 1995.

ClaudeLevi-Strauss:SaudadesdoBrazil:A PhotographicMemoir, translatedfromtheFrenchbySylviaModelski,UniversityofWashingtonPress,Seattle,Washington,1995.

SavingGraces:Imagesof WomenIn EuropeanCemeteries,byDavid Robinson,forwardbyJoyceCarolOates,W.W.NortonandCo.,New York,NY,1995.

SevenPhotographers:TheDelawareValley,introductionbyWendy Holmes,PetersValley,NJ,1979.

An UncertainGrace:PhotographsBySebastiaoSalgado,essaysby EduardoGaleanoandFredRitchin,ApertureFoundation,Inc.,New York,NY,1990.

VisualDisplay:CultureBeyondAppearances,editedbyLynneCooke andPeterWollen,DIACenterfortheArts,NewYork,NY,1995.

TheWater'sEdge:SallyGall,essaybyJamesSalter,Chronicle Books,SanFrancisco,CA,1995.

X = T:TheArt of X-RayPhotography,bySeijuToda,introductionby MaxKozloff,HudsonHillsPress,Inc.,NewYork,NY,1995.

Catalogsreceivedare courtesyof the artistunlessotherwisenoted: FridaKahlo:UnmaskedVariousPhotographs,courtesy ThrockmortonFineArtsInc.,NewYork,NY; TinaModotti:Photographs,courtesyThrockmortonFineArtsInc.,NewYork,NY;Dove Bradshaw:Works1969-1993,courtesySandraGerringGallery; lmaginiScoperte:Jo Brunenberg,introductionbyW.K.Coumans; TheatrumAnatomicum:Jo Brunenberg,introductionbyEmmanuel Cooper;SunPictures,PhotogenicDrawingsby WilliamHenry,Kate Morgan:TheGrotesqueandDeal,essaysbyPaulMiracola;and LiquidSound:LindaTroeller.

from the center slide registry

melissa zexter

Brooklyn,NY

I makeand exhibitlarge-scale photographicconstructions combiningmaterialsas variedas photographs,beeswax,vegetable juices,andoil paint.I ~hallenge pre-acceptednotionsof photographyandinvestigatethe possibilitiesof transformation I presentationof themedium. Currently I ammakinga seriesof photographicmosaicswhich exploreboththeinteriorand exteriorof thehumanbody I use an ancientartform- themosaic refractedthrougha modernonephotography - to retellthe simultaneouslyfamiliarand mysteriousstory of thehumanform.

TheSlideRegistryattheCenterisaselectedslidearchiveofcontemporaryimagesemployingthephotographicmedium.Itprovidesabridge betweentheartistandthecurator/collector/andtheCenter,makingcontemporaryworkeasytoaccessforexhibitions,collecting,orstudy.Fromthe RegistrytheCenterselectsSoloexhibitionsandnow,wealsofeatureexceptionalimagesinour QuarterlyThisuniqueresourceisavailableto artists,educators,collectors,curators,dealersandstudents-byappointment-WednesdaythroughSunday,noonto5pm.Artistswhowishto haveworkincludedinthe RegistryshouldcontacttheCenterfordetailsonthisspecialMembershipopportunity.

Join Us!

WoodstockPhotography Workshops&LectureSeries

June - October, 1996

DebbieFlemingCaffery, Linda Conno1;TillmanCrane, BruceDavidson,LarryFink, LizzieHimmel,EikohHosoe, WM. Hunt, KenroIzu, MichaelKenna,AntoninKratochvil, DavidLaChapelle,DuaneMichals, SylviaPlachy, J. RandallPlummer,LiloRaymond, ErnestineRuben,RodneySmith,Ken Shung,MaggieSteber, JoyceTenneson

travel destinations Mexico, Hawaii, Portugal

free illustrated catalog

Center for Photography at Woodstock T9146799957/F9146796337

Centergalleriesandeducationresourcesareopen, freeto thepublic,Wed.- Sun.noonto5 pm.

CATS,BULLS & LIONS

Collecting Photography & The Courage of Your Convictions sponsored by

THE CENTER FOR PHOTOGRAPHY AT WOODSTOCK

Panel Discussion/ Thursday, September 26, 1996, 6:30 - 8:30 pm, at

Julie Saul Gallery 560 Broadway, New York, New York panel: Denise Bethel, Sotheby's; John Bennette, collector; Howard Greenberg, gallery director; Colleen Kenyon, Center director free to Center Patron and Friend members• individual members, students, & seniors $25 • non members $45

BENEFIT AUCTION 19th & 20th Century Photographs

Saturday, October 12, 1996, 7 PM Auction held at rhe Woodstock Town Hall, 76 Tinker Street, Woodstock, New York

a fully illustrated catalogfeaturing over 250 lots available september 1996 mail, phone, and fax bids are welcome

Non-ProfitOrg. U.S.Postage PAID Woodstock,NY 12498 PermitNo.33