Photography Quarterly #76

pny@photography-guide.com

Amazing invitation an Grace to collect I

21st ANNUALBENEFITAUCTION

SATURDAY, OCTOBER 9, 1999

19 th & 20 th CENTURY PHOTOGRAPHS

The Woodstock Town Hall, 7 pm

PRINT PREVIEW:

59 Tinker Street, Woodstock, NY at the Center Gallery, September 29 -October 8 Noon-5 pm Wednesday-Sunday and on the day of the sale at the Woodstock Town Hall, 76 Tinker Street, 2-5 pm

p4

What is a Benefit Auction?

p5

Glossary

p 6-27

Auction Lots photographs offered for sale p 28-30

Pricing Photograph$

Sarah Morthland p31-32

Developing the New Generation/ Center Internships

Ariel Shanberg p 38

How To Place A Bid p 39

Absentee Bid Form

ABSENTEE & BID FORMS

ARE AT BACK OF CATALOG

Prospective buyers are encouraged to personally view work for sale during preview or by appointment. You may also call Executive Director, Colleen Kenyon

Tel 914•679•9957

Tel 914•679•7747

FAX 914•679•6337

Email: cpwphoto@aol.com http://www.cpw.org

Admission to the Auction is free with catalog

PHOTOGRAPHY Quarterly is published by the Center for Photography at Woodstock(CPW), 59Tinker Street, Woodstock, NY 12498. Copyright 1999, the Center for Photography at Woodstock. All rights reserved. No part of the contents may be reproduced without written permission of the publisher. All works illustrated in the Quarterly are copyrighted by the individual artists who produced them; copyright for essays belongs to the authors. All opinions, ideas and illustrations are those of the writers and artists themselves and do not in any way represent official policy of CPW or its membership. ISSN 0890·4634. Printed by Kenner Printing Co., Inc., New York City. Distributed by Bernhard De Boers, Inc., 113 East Centre Street, Nutley, New Jersey 07110; Editor, Kathleen Kenyon; Assistant Editor, Kate Menconeri; Ad Manager, Lawrence P. Lewis; Copywork: Ben Caswell; Typesetting, Digital Design Studio, Kingston, NY. Cover:© Edward Weston

Board of Directors: FrederickJ. Edwards, Edward Garbarino, Kenro lzu, David Karp, Colleen Kenyon, Arie Kopelman, Ellen K. Levy, Kitty McCullough, Frank Mercado-Valdes, Marc Miller, Jeffrey Milstein, Sarah Morthland, Gloria Nimetz, Stewart Schunemann, Ken Shung, Alan Siegel, Bob Wagner. Advisory Board: Ellen Carey, Philip Cavanaugh, Susan Ferris, Sheva Fruitman, Julie Galant, Howard Greenberg-Founder, Sue Hartshorn, W. M. Hunt, Greg Kandel, Peter Kenner, Laurie Kratochvil, Carol LeFlufy, Marcia Lippman, Peter MacGill, Marcia Reid Marsted, Elliott Meisel, Ann Morse, Sandra S. Phillips, Jose Picayo, Lila Raymond, Ernestine Ruben, Neil Trager. Staff: Colleen Kenyon, Kathleen Kenyon, Lawrence P. Lewis, Kate Menconeri, Judi L. Esmond, Ariel Shanberg. Thank you interns: Sarah Donovan, Jodie Jacobson, Lauren Kesner, Emily Miksic, Christa Parravani, Hyla Skopitz.

Amazing Grace

An invitation to collect

On the occasionof this auctionyou have the opportunityto see the curtain rise on an amazing collectionfor sale. We hope to electrify, impress,and touch you. Whetheryou are a well-versedcollector,a photographyenthusiast,or simply seek visual reward,you will marvel at the balance and beauty of the photographswe offer you. You can see at a glance the manyfine chances here to observe and purchase photography.At the same time, we are graced by the magic gift of an expandedhome. Openinga larger windowof opportunitywith the addition of the Center's new street-levelspace gives our communityan expandedhome with an inviting open-door. Welcome!Enter! Discover thefuture and explore the open window of visual inventions.

What is a Benefit Auction?

The Center for Photography at Woodstock, a not-for-profit arts and education organization was founded in 1977 and is dedicated to creative photography. We host an annual benefit auction in order to raise much needed money for our creative programs. The prints you purchase will fund year-round exhibitions, internships, classes for kids, lectures, visiting artists, workshops, gallery talks, a community darkroom, fellowship awards, and this magazine.

All of the contemporary prints in this sale were donated to support the Center and to ensure a prosperous future for creative photography. This is a crucial group effort to raise money. You, too, can take an active role and support the arts just by buying a print you love.

This benefit auction is a place for you to see a diversity of images you won't be able to find anywhere else. Here you will discover newcomers and well-known artists alikeits a chance to collect both the finest photographs by internationally known artists and the emerging names before the major art institutions take hold of them-and they will! As an organization committed to presenting new talent, we serve as a lightning rod for artists on the rise. Don't miss this window while its still open!

Thank You

On behalf of the Center staff, boards, and the artists we serve, we extend a very special thank you to the artists, galleries, and individuals who have taken their time and care to make gifts of artwork and services for this benefit. We also thank, in advance, each individual who makes an auction purchase. You have the ability to light the way for generations to come.

© Lillian Sassman

Glossary

Albumen a positive printing process invented in the 1850's by L. D. Blanquart-Evrard in which a contact print is made on paper coated with a solution of egg white (albumen) and salt, sensitized with silver nitrate and exposed to light.

Contact Print a contact print, always the same size as the negative from which it was made, is produced by placing the negative in direct contact with the paper rather than projecting the image onto the paper through an enlarger. Contact prints have extraordinarily high resolution, that is, sharpness of detail.

Cibachrome (dye bleach, llfochrome) a positive to positive (reversal) process using three emulsion layers of silver salts sensitized to one of three colors: red, blue, or green. The image is formed by selectively bleaching dyes already existing within the paper. Cibachrome is the patented name given by Ilford.

Color Coupler Print A positive print made from a color negative, involving at least three emulsion layers of silver salts sensitized to one of three colors-red, green or blue. Unlike a dye-destruction print, the dyes are not contained within each layer prior to exposure, but are made during development by adding dye couplers which join the silver particles to produce dyes. The result is a full color positive image formed of the three emulsion·layers against a white background. This process may also be known as Ektacolor print, chromogenic color print, or Type-C (obsolete) print.

Cyanotype Sir John Herschel invented the Cyanotype process in 1840. Cyanotype is a printing process based on the light sensitivity of iron salts. Cyanotypes are considered to be one of the most stable and long-lasting prints. Herschel, astronomer and inventor, was the first to use the terms negative and positive to describe the manufacture of a photographic print.

Digital Computer generated, includes Pictrostat (see Iris)

Dye Transfer in this method of color printing, an original transparency or negative is projected or contact printed onto three separate sheets of film through red, green and blue filters. These separation negatives are then projected or contact-printed to make three relief matrices dyed in cyan, magenta, and yellow dye. Each of the matrices is then brought into registered contact with a sheet of special transfer paper which absorbs the dye. The finished print is therefore, made up of a combination of dye images. Dye transfer is one of the most permanent color processes.

Gelatin Silver Print (silver print, black-and-white) the standard, black-and-white photograph printed on paper coated with gelatin emulsions containing light sensitive silver halides/salts.

Gum-Bichromate Print a print made by exposing a negative on a paper coated with an emulsion of gum arabic, potassium bichromate and pigment. Similar to the carbon _process the emulsion hardens in relation to the amount of light it receives through exposure and the unexposed ·emulsion is washed away.

Half-Tone Print a photomechanical process in which a photographic image is recorded on a relief plate that can be printed on a press. The result is an image made of a tiny dot pattern, with larger, more closely spaced dots in darker areas.

Iris print a digital print output from an Iris printer.

Monoprint a one-of-a-kind, unique print that can not be duplicated exactly because of intricate manipulation in the printing or handwork in the creation of the print.

Platinum/Palladium a printing process in which images are formed in platinum or palladium by placing a negative on paper sensitized, either by hand or pre-coated, with a solution of platinum or palladium, and iron salts, exposed to light, and then developed in Potassium oxalate. Platinum/ Palladium prints are thought to be more permanent than silver prints and allow for a very large tonal scalenumerous tones of gray.

Photogram a unique photographic print made without a camera, by placing objects on a light sensitive surface and exposing them to light. The objects appear as negative silhouettes. A technique commonly associated with the work of Man Ray ("Rayograph"), Christian Schad ("Schadograph") and Laszlo Moholy-Nagy.

Photogravure a photomechanical process, based on the printmaking technique of Intaglio. A copper plate is coated with a light-sensitive gelatin tissue, exposed to a negative, and then etched. The result is a high quality print reproducing the continuous tones of a photograph.

Pigment Processes The pigment process is a general term including a variety of different printing methods which include bromoil, carbon, carbro and gum bichromate. In all of these techniques the final image is based in pigment rather than a light sensitive metal like silver or platinum. Basically a colloid such as gelatin is made light sensitive with the addition of potassium bichromate which hardens upon exposure to light in proportion to the amount of light received.

Vintage a print is considered vintage if the positive image was made from the original negative by the photographer/or overseen by the photographer, at approximately the same time the negative was made.

Please note : all prints are gelatin silver unless otherwisenoted; sizes reflect measurementof image. Lot numbers run left to right and read down. The pricesfollowing descriptionsof the photographsindicate the range the print may sellfor at a benefit Auction. If your donated photograph is not illustratedin this catalog,it will appearin our part two Benefit Auction, to be held in NYC this fall at Photo Expo.

Unless othenvise noted, photographs cire gelcitin silver ( black and white prints)

1. Sands, Wendy G., Calla L,ly I, 1997, signed in pencil on 11. Orland,Ted, A11se!Ada111s,Imogen Cu1111i11glzam, front of mount, 131/4x8½", $250/500. a11dJerry Uels111a11n,n.d., signed in pencil on front of 2. Garik,Alice, Nest, 1998, signed in pencil on back of mat, 6 1/2x5", 250/500. Courtesy Slwroll ilfumby, print, 111/,x9", $300/600. Bearsville, NY.

3. Macy,Al, Brook/y,.Bridge, c. 1950, vintage, 10 x8", 12. Bullaty, Sonja, Tlze Tlzaw, 1971, color dye transfer, 8200/400. Courtesy Sarai, Mortlzland Callery, NYC. signed in pen on front of print, 15xl0", $500/800. 4. Tannin,Harrietand Cruz,Levi, Naugl,.ty But Nice: JOO 13. Engle, Burt, Aetes France 1996 Boy 011 Bike, 1999, Years of Intimate Apparel, 1998, signed in pencil on back signed in pen on front of print, 12x91/2", 100/200. of print, llx7", 8200/400. Courtesy Teresa Engle Moreno.

5. Traversa,Ana,Arcl,ives 1i1 tlze Earth, 1997, unique 14. Steinmann,Catherine,Dancer, ]997, signed in pencil photogram, signed in pen on front of print, 4¾x3¾", on back of print, J0x7 1/4", $300/600. 250/500. 15. Goodman,Howard, Forks, 1992, signed in pencil on

6. Harold-Steinhauser,Judith, Nymph Woman (from back of print, 9 1/2x7'/2", 500/700. Si11gi11gthe Dark series), 1992, signed in pencil on front of 16. Roth, Harold,Flatiron Butlding,1946, 1998, signed in print, 14xll", $300/500. pencil on back of print, l4 x 11", 500/700. Courtesy

7. Mazzeo,Michael,Blade (from the Prison Tools series), Howard Greenberg Callery, NYC. 1999, signed in pencil on back of print, 91/2x71/2", 400/600. 17. Jaffee,Jay, U,uitled(sky with clouds), n.d., ed#23/25, 8. Langer,Jason, Figure No. 5, 1999, signed in pencil on signed in pencil on back of print, 8 1/2xl23/i'', 500/800. front of mount, 8x6'/2", 300/600. 18. Barker,Joan, Reproductions, 1999, polytoned, signed 9. Blum, Bruce, Spwgogue, Prague Ghetto, 1992, signed in pencil on front and back of print, 9 xl3 ", $150/300. in pencil on front of mount, 13x9", $200/400.

19. Franckling,Ken, CeorgeBensoll, 1999, ed#l/100, 10. Dunkerley,Susan, Window Collage with Lunar Moth, Ektacolor, signed in pencil on front of mat, l0 1/2xl3 1/2", 1998, signed in pencil on back of print, 161/,xl2 1/2", 200/400. 200/400.

20. Ling,Elaine,Mo11olithII, 1997, ed#l0/28, signed in pencil on back of print, 16x20", $300/600.

21. Vejvoda,Judith, Oak Grove, 1999, ed#2/25, signed in pencil on front of print, 61/2xl3 1/,", $150/300.

22. Marks,Betty, Two Poppies, 1998, Ektacolor, signed in pen on back of print, llxl4", 200/400.

23. LaGrassa,Lorena, Cianfrusaglie 98, 1998, siE,~1edin pen on front of print. llxl4", S300/500.

24. Shore, Stephen, Ogunquit, ME 1974, 1998, Ektacolor, signed in pen on back of print, 8xl0", 400/600.

25. Stipe, Michael,Patti in Taxi, Philadelphia, 1995, signed u1pen on back of print, 9xl3'/2", 300/500.

26. Giordano,Kristin, Cir! on Horse, 1998, sepia toned, signed in pencil on back of print, 7xl0", 200/400.

27. Goldin,Nan, B,lt T. Jones +Amie Zane Dance Co. Celebratio11Menu, 1998, Ektacolor, stamped on front of mount+ inscribed w\dinner menu on back, 7 1 / 2xll½U, 4001800. Courtesx Lp111Coldsmith, NYC.

28. Raymond,Lilo, Pear i11 Bowl, 1976, vintage, signed in pencil on front of print, 8 1/2xl2¾", $750/1000.

29. Karp,David,Prague, 1999, signed in pen on back of print, 11½x8", $150/300.

30. Zungoli,Nick, River Clow, 1999, Cibachrome, signed in pen on front of print, 9 1/2x71/2", $75/150.

31. CameraGuildof America,Untitled (female nude study), 1930s, vintage, 121/, xlO", $500/700.

32. Holzapfel,Forrest,Furnace Stack, Wallkill Port!a11d Cement Co., Co1111efly,JV]~1999, contact, signed in pencil on back of print, 9 1/2x71/2", 200/400.

33. Teger,LeilaniClaire,Venice Jlfagic (from Carnival of Venice '99), 1999, hand colored, signed in pencil on mat. 121/2x 9", 200/400.

34. Daniel,George,Sixt/, Aveuue El, NYC, 1939, 1998, ed#9/20, signed in pen on back of print, 131/4x9," 600/700. Courtesx Sarai, AtortMand Callerx, NYC.

35. Schutzer,Paul,Pres,deut Jol,11F. Kennedx and His Wife Jacqueline at tl,e l11augural Ball, 1961, 1994 by Time Warner, 14xll", ·600/800.

36. Lopez,Dick,llfosaic3, 1997, signed in pencil on front of mat, 13½xl0", 300/600.

37. Miles,Jonnie,Chapter Two, 1996, sepia toned, signed in pencil on front and back of print, IOx63/i'', 300/600.

38. Kolody-Egel,Jeannie,Coney Island (Panama flat), 1998, signed in pencil on back of print, 13 x8 1/2", 200/400.

39. Reiff,Carole,Carnegie /fall, lady Sings tl,e Blues, Billie Holiday, c. 1985, stamped on back, 10x8", 400/600.

40. Albanese,Stephanie,C.R.D.S. Sw,i,g#4, 1998, signed in pencil on back of print, 131/,x81/i'',S150/300.

4l. Miller,Marc,Still life (vases and shell), 1999, color laser on artist's paper, signed in pencil on back of print, l 4x9", 200/400.

42. Ferd,Carol,Fauna (girl with triangle hat), 1997, signed in pencil on front of mat, 15xl0", 200/400.

43. Landy,Elliott, Untit!ed(Bob Dylan 1969), 1990s. signed and stamped on back, l2 1/2x81 / 2", S300/600.

44. Lomeo,Angelo,Arrow ill Winter, 1996, color dye transfer, signed in pen on front of print, 15xl0", 500/700.

45. Wovcha,Daniel,Cargill Elevator, Chicago. 1995. signed in pencil on back of print, 9 x 13", ·200/400.

46. Saylor,Suzanne,lxchee and Peppermints Crave. 1989, Cibachrome, signed in pen on back of print, 8xl0", S200/400.

47. Richards,Patricia,Ah; Seti,, Jesse, and Cen, 1995, signed in pencil on back of print, 8xl0". 300/500.

48. Mignogna,Mark,Bow Bridge, 1997, signed in pencil on back of print, 7 1/,x9'1,''. S200/400.

49. Greiner,William, Park JJ1ural,Kentwood, Louisiana, 1992, 1997, Ektacolor, signed in pen on front of print, 8xl0", $200/400.

50. Miskend,Donna,Rue Des Artistes. 1998, hand colorer!, signed in pencil on back of print. 9½xl3 1/2". 8200/400.

51. Rindfuss,Bryan,Untitled(boy with gun), 1998, Ektacolor. signed in pen on back of print. 91/2xl31/i". 250/500.

52. Blue, Patt, Nine Jlfontl,s (from Babies Having Babies series), 1983, signed in pencil on back of print. 8½xl2½\ 300/600.

53. Morse,Ann, Winter light. J11illbrook.1990. signed in pencil on back of print, 6 1/4x91/2". $200/400.

54. Collins,Sharon,Bench. 1993. signed in pencil on back of print, 6 1/2x91/,", $250/500.

55. Lewis,Lawrence,Untitled(two young girls), 1999, signed in penciJ on back of print, 8xl0" contact. S250/500.

56. Tice, George, Back Creek, Tr1inslow f'arm, Fairmount, !11dia11a,1985, l98i. signed in pencil on front of mount, 101 / 1xl3", 500/lOOO.

57. Ricardo,Anita, U11titled(two figures from Nude Studies), 1999, signed in pen on back of print, 4 1/2x4½U, 250/500.

58. Kenna,Michael,Hermitage and Froze11Neva, Study 2, St. Petersburg, Russia, 1999, 1.999,ed#5/45, sepia toned, signed in pencil on front and back of mat, 7½x7%", 750/1250. Courtesy Robert 1Jfa111,Callery, NYC.

59. Cratsley,Bruce,Bash·et of Onions, 1989, estate label back of mount, 9 1/2x9½", 500/700. Courtesy tl,e Bruce Cratsley Arcl,ive c/o Sarai, ltlortl,land Callery, NYC.

60. English,Brian,Succulent, 1998. signed in pen on back of print, l0xl0", S200/400.

61. Sarachek,Norman,Genesis 2.22, 1999, photogram, signed in pencil on back of print, l0xl0", 250/500.

62. Welsh,Robert,Cluiwtown, San Francisco, 1990s. ed#4/25, l0 1/2xl0 1/2", 200/400.

63. Wagner,Bob, Nico, Vie11na,Austria, 1984, 1985, signed in pencil on back of print, 8x8", 250/500.

64. Horn,Rolfe,Empty Lot, Boardwalk, New Jersey, 1998, ed#8/45, toned, signed in pencil on front of mat, 7¾x7¾", $200/400.

65. Barry,Scott Ian,Animal Empire, 1999, signed on back of print, l0 1/2x91/4", 200/400. •

66. Krotinger,Jonathan,Zabriskie Point, Deaf/, Valley, CA, 1995, signed in pen on front of print, 9x9", 8200/400.

67. Titus, Lisa,148 E 83, Nigl,t S!wt, 1999, Ektacolor, signed in pencil on back of print, 101 / 1xl0 1 / 2", 200/400.

68. Shokrian,Jessica,In the Back of Beyond, 1999, signed in pencil on back of print, l0 1 / 2xl0 1/2", $500/800. Courtes;Paul Kopeikin Callery, L.A., CA.

69. McNeil,Dean, Genoa, 1995, 1997, signed in pencil on back of print. 7x7", S200/400.

70. Valera,Cristina,Untitled, 1999, Ektacolor, signed in pen on back of print. 71/.x71/i'',8200/400.

71. Mcfarlane,Ian,Arabian, 1997, signed in pen on back of print. 7x7", 150/300.

72. Frisone,Rosemarie,U11titled(quail eggs), 1999, platinum/palladium, signed in pencil on front of print. 5x4", 150/300.

73. Goodman,Mark,George ?t'ceSlicing Watermelon at Apeiron Worksl,ops, Jlfi/lerton, New York, mid-1970s. 1998, signed in pencil on back of print, 8xl2", £300/600.

74. Chernewski,Anita,Conq Island 1989, 1989, signed in pencil on back of print, 3 1 / 1x4¾", $200/400.

75. Poloniak,Darlene,Shadows 0/1/,e Past, 1997, signed in pen on front of print, 5 1 / 2x 7 1/i", £200/400.

76. Laperruque,Scott, Cocktatl Party, 1987, ed#20/l 00, hand colored, signed in pencil, 9xl2", 300/600.

77. Cramer,Konrad,leaves, 1955, vintage, signed in pencil on front of mount, 71/2x9'/2". 400/800. Courtesy Aileen Cramer, Woodstock, NY.

78. Camp,Roger,Fallen Angels XIV, 1998, Cibachrorne, signed in pencil on back of print, 63/,x9 1/2", $200/400.

79. Garbarino,Edward,J'l,e Gift (A Package of t!,e J1f1i1d), 1996, signed in pencil on back of print. 9xl3", 200/400.

80. Heyman,Abigail,Untitled(I-Ioama Beauty Contest), 197 l. vintage. signed in pen on front of print. 81/4-Xl2 11 • 8500/1000.

81. Orkin,Louise,Still Life wit/, Pears. 1993. color gum bichromate, signed in pencil, 7 1/2x9½U,$200/400.

82. Marshall,Nancy,Eli::abetl, + Eva, Georgia. 1996, ed#2/ 21, platinum/palladium gold, signed in pen on front of print, 71/.x9¾",S400/800.

83. Tulis,Thomas, Woods (from Old Car series), 1995, Cibachrome, signed in pen on back of print: 7 1/2x91 / 2", 8250/500.

84. Carucci,Elinor,Grandma in Kitchen wit!, Towel, 1996, Ektacolor, signed in pen on back of mount, 101 / 1xl5", $400/600. Courtesy Ricco JJJarescaCalletJ', NYC.

85. Anonymous,Brooklyn Bridge, c. I 910, 3¼x3", $100/ 200. Courtesy Saralz Mortlzland Gallery, NYC. 86. Almog,Lili,Mask #9, 1998, ed#4/15, Ektacolor, signed in pen on front of print, 6" diameter, $300/600. 87. Kelton,Chuck,Untitled(Massachusetts), 1999, signed in pen on back of print, 13½xl3½", $300/500.

88. Anonymous,Tabby as Grandma, c. 1900, vintage, albumen, 2:Y..x2¾",$100/200. Courtesy Saralz Mortlzland Gallery, NYC.

89. Ellis,Loren,Beyond tl,e Forest, 1982, signed in pencil on front and back of print, 14xll", $150/300.

90. Sheen,Jim, Pageant Day, 1990s, signed in pencil on back of print, 12x8", $200/400.

91. Blodgett, Sarah,Kyleiglz as a Bride, 1996, sepia toned, signed in pencil on back of print, 10x8", $250/500.

92. Welpott,Jack,Sabine, Aries, 1973, ed#5/100, signed in pencil on front of print, 10x8", $500/1000. Courtesy Sandra Pl,illips, San Francisco, CA.

93. Warner,Miki,Untitled (Malibu 1996 #7), 1996, ed#l/ 10, signed in pencil on back of print, 2 1/4x2¼", $300/500.

94. Cray,Fred, Untitled, 1999, signed in pen on back of mat, 40x30", framed, $500/1000.

95. Ely,Margaret,Central Park, 1990s, sepia toned, signed in pencil on back of print, 5x4", $200/400.

96. Martinez,Oskar,Untitled(Beach Scene), 1999, signed in pencil on front of mount/mat, 7¾x7¾", $400/600.

97. Clark,Ed, Play1i1gC!,eckers, Brooklyn, NY, 1946, 1997, signed in pencil on front of print, 11¾x91/2", $600/800. Courte,y Life Callery o.fPl,otograpl,y, NYC.

98. Goldsmith,Lynn,Yellow Rose, 1990s, ed#3/10, Iris, signed in pencil on front of print, 9x6", $500/1000.

99. Jeong,Yeontae,Bott/ea, C-13, signed in pen on front of print, 131/4xl0 1 / 1", $200/400.

100. Gremillion,Kimberly,Slwdow #14, 1998, ed#2/50, signed in pencil on front of print, 8x5 1/2", $500/800. Courtesy Ricco Maresca Gallery, NYC.

101. Watanabe,Nana,Dark Rose, 1991, signed in pencil on back of print, 8'/4xl2¾", $400/600.

102. Raymond,Lilo,Lemons, 1976, vintage, signed in pencil on front of print, 8 1/2xl3", $750/1250.

103. Santelli,Tom, Untitled(landscape diptych), 1998, selenium toned w/graphite, signed in pencil on front of print, 71/2xl3¾", $250/500.

104. Unknown,Various Beatles (lot of 5 prints from the movie Help), 1964-65, vintage, various sizes, $400/600.

105. Teger,AllanI., Laundry S!,adow, 1995, hand colored, signed in pen on front of print, 9 1/2xl3", $200/400.

106. Brandt,Peter, Cugge11/ze1inMuseum, 1999, color ink jet, signed in pencil on front of print, 5 1/2x8", $150/300.

107. Mecklem,SarahGreer,Urban Landscape, 1998, ed#l/2, C-Print, 9xl3 1/2", $150/300.

108. Opton,Suzanne,Eve,yday Hat, 1999, Ektacolor, signed in pen on back of print, 61/,x81/2", $300/500.

109. Kleinhans,John,Pebble Beacl,, Monl,egan, Ma,i,e, (includes autographed monograph), 1993, platinum/ palladium, signed in pencil on back of print, 71/2x9½11 $200/400.

110. Grant,ElizabethM., Tlze Laundry #2, 1992, selenium toned, signed in pencil on front of print, 5 1/2x8", S200/400.

111. Anonymous,The Tattoo Lady (Circus Photograph), c. 1930, 3 1/2x41/2", $250/300. Courtesy Sarai, Mort/,land Gallery, NYC.

112. Ponte, Carlo,Ricardo Di Venezia (album of 12 images of Venice), 1860, vintage, hand colored albumen, blind stamp, each 101/2xl4", $1500/2500.

113. Johanson,Sandra,C!,ives, 1998, ed#2/10, signed in pencil on front of print, 8 1/2x61/2", $300/600. Courtesy Sarah ilfortl,/o,,d Collery, NYC.

114. Martin,Charles,James Baldw,,,, 1982, signed in pencil on back of print, 13 xl0'I.'', 250/500.

115. Klau,Paula,Lot of 14 images of Betty Page, 1950s, various sizes, 900/1200.

116. Ehrhardt,Alfred,Idyll Am Q,wi, Hambourg, 1940s, vintage, stamped on verso, 9 1/.,x6¾U, 750/1250. CoarteSJ' Lee Marks Fine Art, S!,elbxvHle, IN.

117. Davis,Cecille,Spring Training, 1999, signed in pencil on back of print, 123 / 1x81/i'',S200/400.

118. Munkacsi,Martin,Batl,ers wit/,. Parasol, Berlin, c. 1929, 1995, ed#5/40, AP, signed in pencil on back of print by daughter Joan Munkacsi, 14xll", $700/900. Courtesx Joan Jl1unkacsi, Woodstock, and Howard Greenberg Calle,y, NYC.

119. Saville,Lynn,Jlfontmartre, Paris, 1999, ed#l/25, signed in pencil on back of print, 121/2x81/2", $300/600.

120. Modica,Andrea,Pueblo, Colorado, 1995, platinum/ palladium, signed in pencil on front of print, 9 1/2x7½", 1000/2000.

121. Siegal,Arthur,Plwtogram, 1947, vintage, 131/,xll", $1500/2500. CourtesJ' Cody Smith, NYC.

122. Rudin,Dave,Berlin, 1997, #1, 1998, si.,'lled in pencil on back of print, 121/,xl0", 200/400.

123. Cianni,Vincent,Sisters, North 11, Street, 1996, signed in pen in back of print, 9 1/2x7 ", $200/400.

124. Fruitman,Sheva, Untitled, 1999, toned contact, signed in pencil on back of print, 5x4", $400/600.

125. Matushka,Julie, 1990, Ektacolor, signed in pen on front of print, 19xl2'/2", $300/600.

126. Porter, Liliana,Two o/Tliem, 1997, ed#l/3, Cibachrome, signed in pen on front of print, 20xl6U, Sl000/2000.

127. McCarthy,Joanna,Veiled Woman, Jlforocco, 1978, Ektacolor. signed in pen on back of print, 18xl2U, 800/1000.

128. Maas,Rita, Blue Battles+ Potato, 1997, Ektacolor, signed in pen on front of print, 161 / 1xl23/,", S400/600.

129. Garcia,Neil, Pl,oto #12, 1999, F'uji pictro-proof, signed in pencil on front of mat, 9 xl3½U, 200/400.

130. Parras,Susan,Sunset 111 Jlfo11terey,1998, Cibachrome, signed in pencil on front of mount/mat. 10xl4", S200/400.

131. Hosoe,Eikoh,Simon: A Private Landscape, Near the AraA·awa, 1971, vintage, signed in pen on back of print, llxl4", $1000/2000.

132. Stock, Dennis,Flower S!,ow, 1990s, color dye transfer, signed in pencil on mount, 12xl8", 300/600.

133. Jargow,Marc,Astrotalk, NYC, 1997, Iris on art paper, signed in pencil on back of print, 11xl4", S200/400.

134. Ans,Jojo, Le Dugue, France, 1998, AP, ed#l/5, platinum/paUadium, signed in pencil on back of print, 8xl0", $300/600.

135. Laperruque,Scott, Orcl,id #4, 1998. AP, Iris. signed in pencil on front of print, 12xl5", 300/600.

136. Rossiter,Alison, Tl,e Stacks Series, 1998, photogram, signed in pencil on back of mount, 13xl 7", S600/800. Courtesy Sarai, JlfortMa11dCallery, JVYC.

137. Edwards,Beth Yarnelle,D011, Age 29, 1999, color coupler, signed in pen on back of print, 14xl8", S300/600.

138. Dapogny,David,llig/1 Scl,ool ilfarc/1i11gBa11d. 1JfcD011ald'sCl1ristmas Parade, 1988, signed in pencil on back of print, 12xl8", 200/400.

139. Lippman,Marcia,Reclining Buddl,a (Yangon 1liya11111a1),1997, AP 3/5, toned, signed in pen on back of print.13xl6". S500/1000. Courtesy Staley-Wise Caller)', NYC.

140. Goldman,Debra,Jlfasked Treaty(2 photographs on wood), 1991, signed in pen on back, 10x20", 300/600.

141. Ward, Frank,Cyantse KumBwn, Tibet, 1999, signed in pen on back of print, 18xl4 1/1", $200/400.

142. Morgan,Barbara,Light Signature, 19.J0, 1980, signed in pen on front and back of print, 15xl4", $1000/2000.

143. Lindbloom,Eric, Black Willow, lfletherifteld, 1997, signed in pencil on back of print, .17x7¼", 300/600. l44. Iturbide, Graciella,Clwlos co11Juarez Zapata)' Villa !white fence, East L.A.), 1986, signed in pencil on back of print, 18xl2 1/i'', S600/1000.

145. Kemp,Weston D., Stonehenge, Polaris-Star J'rorls, 1992, Ektacolor, signed in pen on front of print, 19xl4", 250/500. Courtesy Lynne Bentley-Kemp.

146. Wagner,Bob, Paris, France, 1998, signed in pencil on back of print, J8x9", 8400/600.

.147.Kirkland,Douglas,Morilp, ilfonroe 1961, 1998, CPrint, signed in pen on front of print, 19xl4", 750/1500.

148. Gudnason,JessicaTan, Composition, 1998, Iris. signed in pencil on front of print, 15xl2", S400/800.

149. Ava, Beth, /Vude lf/0111a11 in Rose, 1999, Ektacolor, signed in pencil on back of print, J6xl6", 250/500.

150. Ferguson,Jesseca, Omitlwlogy: Dove/Claw, 1999, Lithium Palladium Ziatype, signed in pencil on front of print, 14xll", 400/600.

151. Holz, George, Cecilla at JV,i,eilfonths, 1995, signed in pencil on back of print, 14xll", $750/1500.

152. Munkacsi,Martin,Frida Ka/,/o a11rlDiego Rivera, ilfexico, 1935, 1994, AP, signed in pencil on back of print by daughter Joan Munkacsi, 11%x91/i'', 700/900. Courtesy Joan 111/unkacs,;Woodstocl,-,and floward Greenberg Callery, JVYC.

153. Kenyon,Colleen, Geisha (Butter0y), 1999, ed#l/6, hand colored, signed in pencil on back of print, 17xll 1/2", $400/800.

l 54. Uelsmann,Jerry, Untitled, 1994, signed in pencil on back of print, 121 / 2xl0 11'.i", 750/1500. Courtesy Lawre11ce Mrller Calle,y, JVYC.

155. Weston, Edward,Rose, ilfexico, 1926, 1971, signed in pencil on back of print by Cole Weston, 9x61/i''. [200/1500.

156. Gibson,Ralph,/Vew York City, 1968, signed in pencil on back of print, 9x6", 1000/2000.

l57. Harris,JudahS., Two flasid Boys in Zefat, 1980s, Ektacolor, signed in pencil, l4xl9½", 200/400.

158. Thomas,Gwenn,L. Clwpman & A. La Rocque in Steve Paxton s CONTACT, 1975. signed in pen on back of mat, 17½x231 / 1", S500/1000.

159. Rafat, Pasha, Subtitled Frlm Series, 1997, Ektacolor, signed on back of print, 20x24", 400/800.

160. Morgan,Barbara,Jlfart!ta Graham, Frontier, 1935, 1980, signed in pen on back of print, 12xl8", 1000/2000.

161. Kenyon,Kathleen, Bells (from the flea/ti, series), 1993. one-of-a-kind color photo col.lage~signed in pen on back of print, 5½x22½", 8300/600.

162. Morath,Inge, Dancer at tl,e Beacl,. /Vanlllcket, 1978, signed in pencil on back of print, llxl4", 750/1000.

163. Hine, Lewis, Girls lflalki11g.c. 1908-12, vintage, 51/.,6½", 1800/2200.

164. Frank,Eugene,/Vude (A Study), 1910. vintage. Camera Work Gravure, 41/cx61/i",500/700.

165. Engle-Moreno,Teresa, Robert ilfoppletl10rpe & Sam Wagsuif. Aries, 1981. ]990. ed#23/50. signed in pen on front of print, 9xl4", 300/500.

166. Ikeda, Shig, #255 /Voel, 1999. ed#8/50, signed in pencil on front of print, 13½x20", 400/800.

167. Muybridge,Eadweard,Animal Locomotion Plate 89, 1887. vintage, collotype, J3½xl9½", 750/1000. Courtesy Throckmorton Fine Art, IVYC.

168. Ames, Catherine, Gothard Pass, Switzerland, 1993, ed#6/40, signed in pen on front of print, l 5xl9", $250/500.

169. Reiff,Carole,BillEva11s,1950s, stamped on back of print, 14xl l", $250/500.

170. Schacher-Tytla,Tamara,Le Torse VIII. 1998, selenium toned. signed in pen on back of mount, 14xl] \ 400/600.

171. Sacabo,Josephine,El Viento (the wind, from El Afundo lnalcanzabie de Susana San Juan}, 1999, hand colored, signed in pencil on back, 24x20", 750/1200.

172. HudnallJr., Earlie,Lord Jesus, 1997, signed on back of print. 18 1/2xl41/,". 500/700.

1.73.Siegel,Alan, And tl,e City If/as If/lute 1999. color ,lib<ital,signed in pen on back, 24 x 20", S300/600.

174. Carey,Ellen,Circle ofCo,,f,,sion Series, 1997, signed in pencil on back of print, 20xl6". S~50/1500. Courtesy Jayne II. Baum Callery. NYC.

175. Richards,Wynn,Paper Roll. c. 1925. 9½x7¾". 2000/3000.

176. Tremblay,Guy, Untitled, (roses), 1999, selenium toned, signed in pen on back of print, 14 1/2xl4½\ 400/600.

177. Ruben,Ernestine,Vertical D. 1998, platinum, signed in pencil on front of print, li x 11 '/2", 700/2000.

178. Gudnason,Torkil,Ear//, Day. 1999, Ektacolor. signed in pen on back of print, 14"djameter, 400/600.

179. Nimetz,Gloria,Body, 1997, Cibachrome, signed in pen on back of print, 20x 1.6", 400/600.

180. Hawkes,PamelaEllis,Cane-Seal Chair, 1999, ed#3/ 25, signed in pencil on back of print, 181/2x.141/2", $400/600.

181. Porcella,Philip,Cassondra, Santa Fe. 1999, signed in pencil on back of print, 19xl41/,", 500/800.

182. Levinthal,David,Untitled, No. 62, (from the Desire series), 1990/91, Cibachrome, Ed. AP/10. signed in pen. 10x8", framed, 1000/2000.

183. Reiff,Carole,7'1,eloniousAfonk, 1955, vintage, signed in pencil on back of print, 191/,xl5 1/2", 200/400.

184. Evans,Walker,Afa11,ePump. 1933, 1974, signed in pencil on back of mount, llx8 1/2", 2000/3000.

185. Mayes,Elaine,Ka Lae (So111!,Point) Island of Hall"aii, 1990, ed#4/l2, Ektacolor, signed in pen on back of print, 15x22", 400/600.

186. Gordon,JaimieLyle,Every Drop Of Blood Seemed To Leave Aly Body. 1990. signed in pencil. 9xl2", 300/600.

187. Lippman,Marcia,Palmist Sl11vedagonPagoda. Yaugo11.Jlfyanmar, ·1997, AP 2/5, toned, signed iJ1 pen on back of print, 12xl6", 500/1000. Courtesy Staley-Wise Callery, NYC.

188. Reiff,Hal& Florence,Billie Holiday Backstage at Camegie Hall, 1956, 1985, stamped on back of print, lO½xl4", $300/600.

189. Margolis,Richard,Driving by the George Eastman House #62, 1998, ed#2/10, signed in pencil on front and back of print, 16x20", 500/1000. Courtesy Alan Klot: Photocollect Callery, NYC.

190. Bridges,Marilyn,Joumey 1lionume11tValley. 1983. signed in pencil on back of print. l6x20", 750/1500.

191. Cohen,JoanLebold,Kabuki Actor. 1976. Ektacolor, signed in pen on front of print. 13x19", $300/600.

192. Reiff,Carole,Chet Baker, 1955, signed in pencil on back of print, 16 x 20". S250/500.

193. Edelman,Richard,Cl,arlottenburg Bridge. Berlin, !987. 1989. signed in pen. 20x24". 300/600.

194. Lokuta,Donald,New Vork City Street. 1997, ed#l/20. signed on back of print. 131/2x 18". 600/800. Courtesy Sarai, JliortMand Callery. NYC.

195. Brigman,Annie,The lflondrous Clobe, .1912, vintage, Camera Work Gravure. 41/,x8", S600/800.

196. Woolf,John, Tl,e Elms #6, Newport, Rhode lslond, 1992. ed#2/25. platinum/palladium, signed in pencil on front of print, 21/,x61/2", framed. 250/500. Courtesy Robert Burge, 2(lh Centu,y Pl10tographs, LTD, NYC.

197. Sassman,Lillian,Barbara Mullen, Paris, Harper's Bazaar, 1993, signed, 20xl6", $1500/3000. Courtesy Howard Greenberg Callery, NYC.

198. LeBoff,Gail,Rose, 1993, AP, toned, signed in pencil on back of print, 17xl0", $750/1500.

199. Bernhard,Ruth,Classic Torso with Hands, 1952, vintage, signed in pencil on front of print, J4x11", 3000/6000.

200. VariousPhotographers,Lot of 25 Old NY, 19001950s, various sizes, 2800/3200.

201. Opalenik,Elizabeth,The Embrace, 1993, selenium toned, signed in pencil on front of mount, 12x9U, 300/600.

202. Unknown,Jlierle Oberon, 1925, signed in pencil on back of print, 133/,xll ", S200/400.

203. Dritkol,Frantisek,Untitled, (nude study), 1923, vintage, 2xl 'I,'', 1000/1500.

204. Evans,FrederickH., Height and Light in Bourges Cathedral, 1903, vintage, Camera Work Gravure, 3 x2¾", 600/800. Courtesy Barry M. Winiker, NJ.

205. Cramer,AileenB., London, 1955, 1955 (printed by Konrad Cramer), vintage, signed on back of print, 10x8U, $200/400.

206. White,Clarence,Portrait-ilfiss Mary Everett, J 908, vintage, Camera Work Gravure, 83 / 1x6 1/,", S500/700.

207. Coburn,AlvinLangdon,St. Paul's from the River, c. 1910, Photogravure, 7 x 6'1,'', $600/800.

208. Clark,Darren,Untitled, (People - Close Up), 1995, signed in pencil on back of print, 3 1/2x5", framed, $200/400.

209. Coburn,AlvinLangdon,J'l,.eBridge Sunlight, 1906, vintage, Camera Work Gravure, 5 x4", $600/800. Courtesy Barry ill. Wir,iker, NJ.

210. White,Clarence,Boys C0ti1gto School, 1908, ,•intage, Camera Work Gravure. 8x6", 800/1000.

211. Staller,Jan, Ribbon Dra,l'ing, Korea, 1999. Ektacolor. signed in pen on front of print, 10½x10 1/2\ 400/600.

212. Menconeri,Kate,Alice Tl1ro11g/1the Looking Class. 1998, signed in pen on back of print. 13xl0", S250/500.

213. Cavanaugh,Philip,At the Forum Cate, S1,fetula, 1998, signed in pencil on back of print. 12xl6", $200/400.

214. Williams,Robin,Untitled, (nude woman), 1996, eel# 7/75, Iris, 9 x 14", signed in pencil on back of print. 750/1000.

215. Taranto,Ken,Hudson Street Window, 1998, C-Print. signed in pen on front of print, 23xl O",$200/400.

216. Marc,Stephen, Untitled (from Soul Searching series), 1997, gelatin silver digital montage, signed in pencil on back of print, l 2x18", 500/800.

217. Crane,Tillman,Altar, Cathedral oft he 111ade/ine, Salt Lake City, Utah, 1999, signed in pencil on front of mat, 12x20", $400/800.

218. White, Pam, Untitled(3 women), 1995, toned, signed in pencil on bark of print, llxl4", Sl50/300.

219. Bresson,HenriCartier,Peking, 1949. stamped on back of print, 8xl0", 2000/3000.

220. Abbott, Berenice, Blossom Restaurant, the Bowery, 1935, 1960s. signed in pencil on back of print, 101/2xl3'/2", 3000/4000.

22]. Somonte,Carlos,Untitled (from the series Los Ultimos Poetas). 1987. signed in pencil on back of print. 9xll 1/2". 500/800.

222. Porto,James,Ada and Zeus, 1998, signed in pencil on back of print. l 51/2x18¾", 500/1000.

223. Kuo,Nina, Casting Identities, Judy, 1992, C-Print, signed in pen on back of print, 5x61/2", 200/400.

224. O'Neal,Hank,Allen C1i1sberg& William S. 811rro11g/,s 1984, 1999, signed on front of mount, llxl4", $600/800.

225. Rothstein,Arthur,Dust Storm, Cimarro11Cou11ty, Oklalwma, 1936, ed#218/300, signed in pencil, 24x20". $2000/2500.

226. Caffery,DebbieFleming,Eyes of the Night, 1999, ed. #4/25, signed in pencil on back of print, 20x20", Sl000/1500.

227. Roth,Harold,Forest Avenue. the Bro11x,l937, 1998, signed in pencil on back of print, 14x lJ", 400/600.

228. Lambray,Maureen,J'l,e Crollo. 1998, signed in pencil on back of print, 9'/2x91/2",S800/1000. Courtesy C. Ray Hawkins Callery, NYC.

229. Wilkin,Christian,Helena Chn"stensa, LA, 1998, signed in pencil on back of print, J 9xl 5", $400/600. Courtesy David Maloney, Art Department, NYC.

230. Picayo,Jose, Dylan, 1999. signed in pencil on back of print, 10 x7 1/2",$400/800.

231. Barry,Scott Ian, Wolves, Animal Empire, stamped on back of print, 20xl6", "200/400.

232. Apfelbaum,Sally, TLti!eries Carden #3 Paris, 1992, ed#5/25, Ektacolor, signed in pen on back of print. 24 xl8'/,", 1000/2000.

233. Dugdale,John,Ci Hanno Lasciato (they have lefl us). 1997, cyanotype, signed in pen, 10x8", framed, 1000/ 2000. CoLtrtesy Wessel O'Con11orCallery, NYC.

234. Kelton,Chuck,U11titled(Massachusetts), 1999, signed in pen on back of print, l3 1/2xl3 1/2", $300/500.

235. Tortora,Lucille,889, 1989. signed in pencil on front of print, 15x15". 250/500.

236. Miksic,Emily,Untitled(blue sky, green paint), 1999, Cibachrome, 14 1/2xl4 1/2", SI 50/300.

237. Soberman,Linda,Traceo/!Jfemory: Friends. 1999. photo transfer/mixed media, signed in pencil on front of print, 27x20 1/2",8500/700.

238. Wilkin,Christian,Female (fashion), signed in pencil on back of print, 19xl5", $400/600. Courtesy Darid llfalo11ey,Art Department. NYC.

239. Smith,KennethBryan,Untit/ed(intrrior). 1998, signed in pencil on bark of print, J4xJI", S150/300.

240. De Sciose,Joseph,Mermaid and lier Co11sort.1998, Cibachromc. signed in pen on back of print. 191/2x l3 11 £200/400.

241. Ketchum,RobertGlenn,B;-lot lsla11dShoreli11ent Pond Inlet, 1994, AP/33, llfochrome JI Deluxe, signed in pencil on front of mat. J6x20", framed, S500/1000.

242. Fee,James, West Side Docks. /\IY. 1997, ed#5/20. signed in pencil on back of print. 13xl7 11 framed, SI000/1500. Courtesy Craig Krull Calle,;,, CA.

243. Kobayashi,Hideo, Tl,e Partitioned Place. l99i, CPrint, signed on back, 21x3 I", framed, 750/ 1250.

244. Capella, Angela,U11braidi11g.Neu· YorA· Cit)', 1996. C-prinl. 20x24", framed. S400/600.

245 Hofkin,AnnGinsburgh,Cl,arlesto11-97-10. 1999. signed in pencil on back of print, 18x23", S300/600.

246. Bucher,Karen,Rides at the Fair, 1996, Ektacolor. signed in pen on back of mat, l5x22U, 200/400.

247. Milstein,Jeffrey,Old Chevy l'rLtck. 1998. ed#3/35. lris on archival watercolor paper. l7x25", 8300/600.

248. Ferrario,Paola, U11tit/ed(triptych from the Elder Relative series). Iris, signed in pencil on front, 13x35", framed. 300/600.

249. Fitzsimmons,Joan, Untitled(frorn the series Heart!, & Home), 1989, signed in peneiJ on front of print, 9x9U, 200/400.

250. Leith-Tanous,Sara, Petroglyphs (from the series Jf//101Persists). l 997, signed in pencil on back of print, 131/,xl91/i'', 300/600.

251. lzu, Kenro,Still Life #516. 1995, ed#l2/30, platinum/ palladium. signed in pen on back of mat, 10x13U, 8750/1500.

252. Barr,Paula, Photo Op. /\IYC, 1993, Ektacolor. signed in pen on front of print, 83/,xl3 1/2". S400/ 800.

253. Steber, Maggie,Pilgrim'.,-Prayer, Sant d'Eau, Haiti, 1987, Ektacolor, signed in pen, l9xl3", $500/800. 254. Holz,George,Motlzer o.fAll living, 1996, ed#27/30, signed in pen on back of print, 14xll", $1000/2000. 255. Witkin,Christian,Monkey, l990s, signed on back of print, 20xl6", 400/600. Courtesx David !lfaloney, NYC.

256. Bentley-Kemp,Lynne,Picket Fence, Key West, 1993, signed in pen on front of print, l8xl2", 8300/600. Courtesy W.D. Kemp, Summer/and Key, Fl.

257. Deschamps,Francois,Clam She/I Alley FisM,ouse: Spirit and Earth, 1998, color photo collage construction w/wood, signed in pen on back, 20xl7x3 1/2", $400/600. 258. Novak,Lorie,Ulltitled(woman·s face in trees), 1990/ 92, ed#5/15, Ektacolor, signed in pen on front of print. 22 1/2xl8 1/2", 1000/2000.

259. Clergue,Lucien,Two Nudes 1i1the Quarries, Les Baux, 1975, 1983, AP, signed in pencil on back of print, 12x81/4", 700/1000. Courtes;- Sol,o Triad Caffery, NYC.

260. Thomas,Michael,Cable Series, 110.15, Dallas, PA, 1998, signed in pen on back of print, 18xl4", 300/600.

261. Wegman,William,llfollument, 1999, chromogenic, signed on back of print, 7x7", 500/1000.

262. Vishniac,Roman,111tl,e Doorwa;- o.f His Home, !lfd:achero, 1938, 1.970s,estate stamped+ signed by Mara

Vishniac Kohn in pencil on back of print, l4xll", SlOOO/ 2000. Courtesy Howard Greenberg Callery, NYC.

263. Breuer,Marco,U,,titfed(from theA/Zseries), 1996, signed in penciJon back of print, 7x5U,framed, ·300/600. Courtesy Jayne /1. Baum Calle,y, NYC.

264. McCormack,Dan, Ruth, 1989, platinum/palJadium, signed in pencil on front of print, 6x2 1//. 200/400.

265. Robinson,Linda,Seven leaves, 1994, ed#8/50, signed in pencil on front of mount, l 7xl4", framed, 300/600.

266. Steber, Maggie,Ceremony toAzaca, Haiti, 1991. Ektacolor, signed in pen on back of print, 19xl3", 500/800.

267. Kepes,Gyorgy,U11titled(mirror study), 1939. ed#l/25. signed in pen on mount, 5 1/,x4 1/,", 1200/1500.

268. Abbott, Berenice,Grand Opera House, Federal Art Project, (from Cl1a11g1i1gNew York series), 1936, vintage, artist's studio stamp and notations in pencil on back of print, 9¾x7¾", 4000/5000.

269. Jude, Ron, U11titled(from 45 th Parallel) w/autographed Doubleta!.·e magazine, 1995. AP, C-Print. signed in pen on back of print, llxl4", 400/700. Courtesy la11re11ceJI/ii/er Callery, NYC.

270. Spencer,Jack,Boy w!Ball, 1996, ed#l4/25, sepia toned, signed in pencil on front of print, 10x9½\ 500/1000. Co11rtesyS!,adow Catcl,er Inc., Boston, Jlfa.

271. Littwin,Kathi,Sa!tara S11nset, 1999, selenium toned, signed in pen on back of print, 71/,x7 1/2", £250/500.

272. Sweeney,Marla,Front Porch. 1998, ed#2/25. Ektacolor, signed in pencil on mat, 14xl4", 300/600.

273. Vine,Terry,Gargoyles o.f Notre Dame, Paris, France, 1996, sepia-toned, signed in pencil on front of print, 131/,x13'/,'', 300/600.

274. Old, Toby,il1e.rico,Sanll1iguel, 1997, signed in pencil on back of print, 14xl4", 400/600.

275. Freedman,Marcy,U11titled(collage). 1997, color Polaroid, signed in pencil, 2lx21", 300/500.

276. Reilley,Meg,Ford, 1995, signed in pencil on back of print, lOxlO", 300/600.

277. Sartor,Margaret,Cat!teri11ei11tl,e Plax!to11se,Built by Her Fat/,er, 1989, signed in pencil on back of print, 15xl5", S400/600.

278. Moller,Jonathan,Spea,jisher111a11,El Rio Esmeralda, CPR, Pete11,Guatemala, 1995, ed#3/25, signed in pencil on back of print, 14xl4", 250/500.

279. Martin,Charles,Octavio Paz, 1984, signed in pencil on back of print, 53/,x8¾", S200/400.

280. Maschas,Theo, Lot of 2 / U11titled,nudes), 1999, color digital, signed in pencil on back, each 10x6", 200/400.

HJ

281. Springer,Melissa,Jlfy Jlfotl,er's Hands, 1996, ed#l/15, 17xl3", framed, $500/800.

282. Barnbaum,Bruce,Tl,e Slit, Antelope Ca,qon, 1980, signed on back of print, l9xl4", 750/1500. Courtesy Fay Cold Calleq, Atlanta, CA.

283. Puyo, C., JVudeAgainst the Ligia, 1906, vintage, gum half tone, 8 1/2x5¾", $300/500.

284. Gottleib,William,Billy Edstine, 1947, 1990s. 9 1 / 1x7 1/4", 200/400. Courtesy Jlfarty Carey, W,'llow, N)c

285. Kuhn,Heinrich,Cir/ wit!, Jlfirror, l 906, vintage, Camera Work Cravure, 71/,x53/,", 600/800.

286. Seeley, George,Nude (7'l,e Pool}, 1910, vintage, Camera Work Gravure. 8x6 1/4". 8800/LOOO.

287. Seeley, George,The Artist, 1910, vintage, Camera Work Gravure, 8x6 1/.,", 500/700.

288. Atget, Eugene,Port D'Asnieres, Chiffo1111er,Cite J'rebert, 1913, vintage, gold chloride, artist's studio stamp on back of mount, 9x61/,".$2000/3000.

289. Steichen,EduardJ., Lilac Buds: ilfrs. S, 1906, vintage, Camera \Vork Gravure, 8x6 1/,", :600/800.

290. Sudek,Josef, Untitled(doorway), 1950, vintage. signed in pencil on front of print, 9 1/4x63/,", S2500/3500.

291. Winogrand,Gary, Women Are Beautiful, 1960s, unsigned, ]3 1 / 1x9 ", 1500/2000.

292. Platon, 1Jfm·c/1i110,1998, Iris, signed in pencil on front of print, 22x20 1/2", '500/800. Courtesy David Jlfaloney, Art Department, NYC.

293. Platon, lssey Jlfiyake, 1998, Iris, signed in pencil on front of print, 25½x20", 500/800. Courtes;· David Jlfaloney, Art Department, NYC.

294. Pickett, Keri,Dancing Cir/, Jolwpur, India, 1999. signed in pen on back of print. 8x8", S250/500.

295. Gatewood,Charles,Simone and Psyclie, 1994, signed in pencil on back of print, 9x7", 300/600. Courtesy Catlwrine Clark. San Francisco.

296. Bravo,ManuelAlvarez,Nude wit/1 Class. Jlfexico, 1938, 1977. signed in penci.lon mount. 9 1 / 2x6¾n. 1500/2000.

297. Arbeit,Mark,7'l,eDance, 1999, signed in pencil on back of print, 93/,x12", $600/800.

298. Horner,Pat, Quebec Transfer, 1998, color fabric transfer, signed in pencil on front of print. 8x8". '400/600.

299. Piperno,Lauren,Angela wl Her Horses, Iceland. 1995, C-Print, signed in pen on back of print, 8 1/4x81 / 1°, 300/600.

300. Pettibone, Laura,Hi Honey, /in/Jome, 1997, AP ed#l/5, signed in pencil on front of print. 5¾x51/,". 250/500.

301.Stolzer,Michael,Twister, 1996, AP, color Pictrostat, signed in pen on back of print, 3 1/2x41/,", S250/500.

302. Eabry,Michelle,Narrabee11Beach, Sydney Australia, 1999, signed in pencil on back of print, 6 1/,x9 1 / 1", S200/400.

303. Brennecke,Jochen,Between the Worlds, 1997, color dye print, signed in pen on front of print, 7x9½\ 200/400.

304. Sinsabaugh,Elisabeth,Avalon, NJ #6, (from the Ocean La11dsrapeseries), 1996, signed in pencil on back of print. 8 1/,xll", '250/500.

305. O'Sullivan,Stuart,Se(f-Portrait, 1997, ed#l/20, signed in pencil on back of print, 13xl7", £500/700. Courtes;- Sarai, Jlfort/,land Callery, NYC.

306. Ogust,Dion, Eleplumt, l 998, signed in pencil on front of print, 6 1/2x9", 150/300.

307. Smith,W. Eugene,The Wake, 1950, artists' stamp on back of print, 5 1/4x8", 82000/3000.

308. Weegee, The Elephant Number i11ilfadiso11Square Garden, 1956, vintage, artists stamp on back of print, l0'/2xl3'/,'', 2500/3500.

PRICING PHOTOGRAPH$

In today's anything goes market, prices for vintage photographs are through the roof and contemporary photographs seem to be following suit. The consensus is that nothing makes sense. In an effort to demystify the mystery, I've asked the opinions of four people in the field who deal with this issue every day: Vincent Cianni, photographer and teacher; Vicki Harris, director of Laurence Miller Gallery, New York; Bill Mindlin, founder and publisher of Photography In New York; and John Bennette, a collector, teacher, and writer on photography.

Sarah Morthland: Vince, for the past several years you've been involved in an extended documentary project -photographing and videotaping in your Williamsburg, Brooklyn, neighborhood -which seems like an unusual course to take in today's art world. In terms of a career choice, what does this mean?

Vincent Cianni: About four years ago, I realized that the only way to fully accomplish my goals as an artist was to spend my time getting the project done and not worrying about showing it or selling it. Through my years as a teacher and a photography dealer, I learned a great deal about how to establish myself as an artist. Instead of approaching galleries and collectors with an unfinished project, I found it easier and more productive to show my photographs to curators to discuss concepts and di-

rection. Since I knew my © 1997, Vincent Gianni, Johnny

work was not viable for

make money selling this artist's work. We test it by taking it to art shows and getting reactions from clients. We commit to an artist for a certain time, usually a couple of years, and schedule a show. At that point the artist and gallery owner get together to decide what is equitable to meet each other's needs.

SM: Bill, your vantage point is unique. When you started Photography In New York just over ten years ago, there were barely enough photography galleries to assure your success. Now your publication is international and the magazine has more than quadrupled in size. What have you observed?

Bill Mindlin: The number of galleries showing photography is significantly higher. This includes the long-term, well established galleries that have a strong commitment to the medium, as well as the newer galleries that have a totally different aesthetic. I see the newer galleries as having risen out of the East Village tradition of educating and creating an audience for politically and conceptually oriented work- this will be a strong continuum. What I don't see is the emergence of younger dealers opening galleries showing photography exclusively.

SM: With high profile galleries such as Matthew Marks showing photography, does it up photography's ante?

VH: No. Although a gallery needs an identity, the dealer is not that important. Photography is riding a wave. And photography is still inexpensive in relacommercial galleries, conceptual issues were more important.

I am at a point where substantial things are beginning to happen. Institutions such as the Brooklyn Museum and the Southeast Museum of Photography are interested in my photographs, I'".e made many European connections, and my work has been included in several group shows and exhibitions at alternative spaces. This fall, Doubletake magazine will publish a selection from the project. I have established a good track record and I'm now ready to approach collectors.

SM: Vicki, Vince brought up an interesting point. Your gallery is identified with some of the most important contemporary artists in photography - Ray Metzker, Helen Levitt, Toshia Shabata, and Lois Connor, among others. How do you determine what art is viable for your gallery?

Vicki Harris: On a practical level, one question we ask is can we

tionship to other products.

SM: Bill?

BM: Absolutely it does. Matthew Marks is one of the hottest dealers in town. I think it says a lot to the savvy collector.

VC: Marks comes exclusively from a fine art perspective and views photography from this platform. He sees each photograph as a unique fine art object rather than putting it in relationship to the history of the medium. Traditionally, photography dealers create a market for a photographer by charting the development of the artist only within the medium.

SM: A good point. But I think it is still up to us to provide a basis for the market. So let's talk about a criteria for setting prices. Vince, you do not work with a gallery. How have you priced your works?

Hugging His Mother at His Birthday Party, original Ektalure.

VC: I keep it simple: $500 for an 11 x 14" black-and-white print and $750 for a 16 x 20" print. I will not make more than twentyfive prints of an image in both sizes combined. For now, the price is the same across the board. Even if a certain image starts to sell more than others, I have not raised its price. This makes keeping track of things much easier.

VH: A gallery has many considerations-the cost of ads, promotion, space, time, staff- but what also factors in is the gallerist's market instinct. We might start out at $900 for an average size black-and-white print and increase the price as the edition sells.

BM: I am disturbed by the notion that an 8 x 10" print is at a certain price, and an 11 x 14" print is automatically at a higher price. I strikes me as material by cloth rather than a measure of artistic endeavor. I think it is an odd way to price photographs. It implies that a larger print is worth more.

VH: Some artists make certain decisions. Ray Metzker, for instance, decides the optimum size for a particular image and will only make one size.

V C: You also must consider how an artist invests theirtime. It is far more time consuming and expensive to make a larger print and it is far more difficult to obtain the same tonal range, focus, and depth.

SM: Plus a larger print is harder to handle and it stands a greater chance of being ruined at any step along the way. It seems that pricing by size is just a starting point.

that an image takes hold.

VH: People are crazy about product right now - photography has a certain amount of spin and people want to buy part of the action. Many collectors have a different mind set these days. They no longer ask if a particular work is a good investment.

VC: So much seems not about the work but about marketing.

BM: I wonder if the market can sustain itself? We were lucky in the early nineties when the rest of the art market declined. The photography market was relatively untouched. But today, with big overheads

aninterviewbySarahMorthland

SM: Vicki, can you give us some examples of prices at your gallery?

VH: Stephane Couturier, one of our most sought after artists, is new to the gallery. His prices in 1997 began at $3500 for a 60 x 50" color photograph from an edition limited to five prints. His work 'was immediately popular and we were consistently running out. His images are now priced between $5000-$7000. On the other hand, photographs by Ray Metzker, a highly acclaimed photographer who we've represented for many years, can start for as little as $2000. Because he has made so much good work, he never has to worry about selling out an edition or substantially increasing his prices to make a certain amount of money each year. With both artists, the gallery has approached collectors to try and buy back photographs from sold out editions.

SM: Completely different, but successful, strategies for these two artists. In general, what type of work sells best?

VH: Images with across the board appeal.

BM: There seems to be a demand for reasonably priced, agreeable images that reflect popular taste. The market has opened up, not just rarefied. The number of people who have photographs on their walls is much greater than a few years ago.

SM: Question to all. Which contemporary photographers have legs? Who will go the distance?

Answer:

SM: The most wonderful thing is clear. Photography is alive and kicking and it's priced within reach. John Bennette, for instance, has amassed a remarkable collection within a modest budget. John, pricing photographs, collecting photographs. What do you think?

John Bennette: It's a shame! I used to have money! There should be a twelve step program for collectors ....

SM: I know the feeling. I think that's why one becomes a dealer! Tell us about your collection and how you started.

VC: It's really in the secondary market

© 1980, Ray K. Metzker, Philadelphia, gsp, courtesy Laurence Miller Gallery, NYC.

Andrea Modica, Ray Metzker, Anna Gaskell, Adam Fuss, Hiroshi Sugimoto ....

JB: I usuaily collect emerging artists. Living artists working in real time. For me, there is an extra amount of satisfaction in knowing the artist personally, and it's an adventure. You have to know yourself and be willing to take risks.

It took me many years to start collecting. In 1985, my desire was to buy a Mapplethorpe - three lilies on a stem - which was available at the Robert Samuels Gallery for $700. I didn't buy it because I thought it cost so much money. It has of course since become one of the artist's most famous photographs.

Instead, I bought my first photograph for $80. I had seen an image on the cover of a magazine which was credited to a Mario Z. As luck would have it, I found him listed in the telephone book. I cal led him up and after many missed connections I finally met him and arranged to buy the photograph.

SM: I know you try to keep within a certain price range. Does that inhibit your ability to collect what you want?

JB: Even though I try to keep it between $500 - $ 1000, there have been images I felt I needed to add to the collection which were more expensive, such as a vintage photograph, but even in today's market it isn't necessarily a restrictive range. A good example is Keith Carter. Keith has consistently produced work that people desire. Beautiful 16 x 20" black-and-white prints from editions of fifty that started at $600. He maintained a reasonable price for years to build his reputation. Time and public interest made them worthy.

It is a little fairy tale that as an artist you haven't made worthy art if it doesn't cost $1000 or more. A lot of the artists I've collected did not have big reputations when I started and many have now become market names. One way to save money is to be decisive and make a commitment early on when the edition price is at its lowest. Ask the gallery to let you know when new work is available by an artist so you can be in on the ground floor. If you like one work by the artist you will probably like more. When John Dugdale was doing editions of three, I went to his gallery two days after his show was reviewed and there were no longer any prints available for sale at the starting price. I learned a valuable lesson.

SM: What do you think about the editioning of photographs?

JB: I'm very happy and comfortable with editions of 15 - 50 prints. Demand for photography is strong. With more than 280 million people in America, an edition of fifty is not very large. Artists such as Tom Baril, Michael Kenna, and Sally Mann, al_! artists whose images are timeless and classical, rapidly sell out. But in reality, it is very rare that an artist will realize, and sell out, the entire edition of an image.

SM: In other words, the declared edition might be fifty but the artist may only make and number prints as they are sold. So many times there are fewer prints in existence than the edition number would imply.

JB: That's correct.

SM: Do you like working with galleries, or would you prefer going directly to an artist?

JB: Working with a mature gallery that has a knowledge of what

is going on in the market is a plus. Developing a relationship and friendship with the gallery is an important part of my collecting. I cannot emphasize enough the idea of going to a gallery in terms of reassurance. A good gallery is like an insurance policy so that I do not need to worry about authenticity. They believe in the artist and try to guide the artist's career. They also assist the public in seeing the value of an artist's work, both artistically and monetarily. You cannot create a career without careful thought. And the artist must help the gallery promote their careers. I strongly believe that the artist needs to hold a tight rein on their own professional responsibilities.

SM: What about the new wave of contemporary galleries showing relatively unknown artists whose photographs are priced in the upper stratospheres?

JB: Bad thing! They don't understand the medium. Myths about life: Bigger is better. Just make it big. Aim it for an institution. Photography is a number of things and most certainly an art but it is not necessarily meant to be sold at $5000, in a 50 x 50" size, and as a unique item. If these galleries are controlling a young artist, they are not really looking at the long-term. Many galleries illadvise artists. Overpriced galleries don't know the market and they are doing a lot of harm, especially to the artist. For the buyer, try not to be tempted by considerations of fashionability.

SM: What other advice to you have for collectors?

JB: You go through all sorts of emotional plays when you buy. Do you really love it? (Something you may not know until you live with it for years.) Why am I paying so much forthis piece of paper? You need to do walking, talking research. Since collectors are not sure what they want, they go for big names. Instead, buy what you identify with. Another generation will probably agree with you. Buy what you love and can afford and keep your fingers crossed.

SM: Can you give us an example of a recent purchase?

JB: At the Association ofinternational Photography Art Dealer's annual photography fair in New York, I walked past a dealer's booth and saw some work that was absolutely fascinating. I walked past the booth at least five times and never looked at the prices because the prints were so big, so hauntingly beautiful, that I thought they would be too expensive. As it turns out, the artist, Rod Cook, and his galleries, have decided to keep his prices at a level that people can afford. His meticulous 16 x 20" platinum prints in editions of twenty-five start at around $750. I'm sure they will bring $1500 or more within a few years.

SM: I would also like to add that many well-known artists and galleries generously donate works to benefit auctions. This can be a great way to buy a print by a name photographer at less than market price (if you're lucky!) or help launch the career of a newcomer. I always think the best way to start collecting is to take the plunge and buy something in a price range that is comfortable for you. The majority of contemporary work I see is priced under $2000 and I am always startled when I realize that there are very good vintage works available for under $5000 if one takes the time to look and follow their own eye.

© 1999 Sarah Morthland

Developing the New Generation/ Center Internships

To begin an introduction to the Center's internship program, 1'1 like to share the letter that brought me a Center internship-

I am interested in the forming, the developing and the carryin_g on of instructive, educational dialogues between:

Artist and Artist

Artist and Community

Artist-Art Object/Event- Audience

Teacher and Student

Artist and Self

It is with these principles that I approach each type of opportunity that is set before me. These are beliefs which I explore and present in my own art work and for which I seek an internship.

Just as we put together this publication to share the passion of photography with our international community, so too, do we form a family by sponsoring a year-round program of Center internships. Since 1986 CPW staff has trained over eighty young people through the Woodstock Photography Workshops and Arts Administration programs. Although high-school age students have been gallery interns, the workshop and arts administration participants are selected most often from those in their last years of college. Several interns have participated in both types of training, some have repeated their internships and/or become center staff. Our interns come from diverse cultural, ethnic, and geographical backgrounds. They arrive in Woodstock from all states and from China, England, France, Japan, and Sweden. Interns leave this experience ready to face the real world.

Arts Administration Interns work with the Center year-round (fall/winter/spring and summer sessions); Workshop Interns serve the visiting workshop faculty from June to October. While they do not receive stipends, Interns often are given college independent study credit and workshop interns receive thousands of dollars worth of "in-kind" tuition remission as they both facilitate and participate in workshops and lectures. Workshop Interns have the opportunity to share their portfolio with the visiting artists. A fully equipped professional darkroom is available free of charge to interns. The intern experience is unlike traditional "classroom" education. In a matter of months, interns have the opportunity to interact with hundreds of artists, guest teachers, students, and the public.

Interns are expected to live or move near the Center (quite an extraordinary achievement for those based outside of New York State). We say this is their first "creative step". Finding housing and (often) part-time employment in a new location doesn't daunt these achievers. By living in Woodstock, New York-an historic arts colony-interns experience the full commitment to both the Center and the audience it serves. Interns work at the Center two to three days a week. On other days they spend their time using our lab to create personal work, and exploring the culturally rich area which circles the Center.

Testimonials from Center Interns 1986 - 1999:

The summer internship was a wonde,ful growing experience .... One of the virtues of the Center is its size which allows participants (interns, staff, artists, and students) to engage in personable, meaningful experiences. At times, distinctions between artist/student/staff blurred, creating highly energized learning sessions.

-Mark Liflander

By working in an educational/teaching situation with both students and artists, I refined my social skills, and gained new insights to public relations ... My experiences during the course of the internship left me with a deeper understanding of photography; encompassing the workings of the Center, the insights of the artists, the enthusiasm of the students, and my own expanded perception of the medium.

-Dara De Long

Just beginning on life's journey, I awake andfind myself in Woodstock. The right way is lost, the right way is found. Workshops let me experience photography through different sets of eyes and give me a basis of knowledge on which to build my own vision.-Dena Mehalakes

I am very impressed with the energies that the Center staff puts into creating a "home away from home" experience in photography for the professional and novice alike. I personally feel there are far too few centers such as yours in this country.

-CeCe Marquette

© 1991, Marianne Courville

By the time Wor~shop Interns depart, they have engaged in a great many of the core activities that define the Center. Participating in the Woodstock Photography Workshops and the evening Photography Lecture Series, they are given a rare opportunity to study with the visiting artists who lead the classes. WPW Interns are provided with a great opportunity to learn about picture making, techniques, and teaching styles, on a first-hand basis from experienced and established professionals. This season for example, our four workshop interns study with Lynn Goldsmith, Chuck Kelton, Ernestine Ruben, Hans Neleman, Elizabeth Opalenik, Douglas Kirkland, Mary Ellen Mark, Sam Abell, Lorie Novak, Ralph Gibson, Patt Blue, Robert Glenn Ketchum, and Maggie Steber, among others.

Those who participate in the Arts Administration Internship are exposed to and participate in implementing all of the Center's creative and administrative programs including exhibitions, fundraising, services for artists, and publications (including the PHOTOGRAPHY Quarterly). They are taught management practices for the operation of a not-for-profit 50l(c)(3) organization and learn to produce and mount exhibitions (giving them contact with artists and curators). Their exploration of the world of contemporary photography is continued through assigned readings, field trips and by using the Center's print/slide/book collections. All interns learn to amplify the programs through skill-building in marketing, publicity, and membership. Interns are taught how to write a professional resume, an artist's statement, create a slide/print portfolio, and staff helps them seek fulfillment in the next step of their professional journey.

The Center keeps in touch with many interns and usually finds jobs or graduate school opportunities for these students as they leave our space. Past interns have gone on to work at publications such as Money, Time, In Style, The New York Times, and Humanity. They have also gone on to become staff members at the Center, Woodstock Photography Workshop managers, studio assistants for photographers such as Bruce Davidson, and gallery assistants at such places as Danzinger Gallery in New York City. Center interns have been fellowship recipients at Maine Photographic Workshops, Anderson Ranch in Colorado, and the Polaroid 20x24 Studio in New York City. Many have been accepted by graduate schools or alternative training centers of their choice; and several have established themselves as photography dealers, teachers, studio managers; others have found galleries to represent their imagery. As these young people build their careers, so too do they bring the Center's mission to the outside sphere.

ARIEL SHANBERG, having recently completed this article, has joined the Center staff as Program Assistant after serving as an Arts Administration Intern. A graduate of Mason Gross School of the Arts at Rutgers University, Ariel came to the Center with an interest in being involved with a not-for-profit arts center that specializes in working with artists in both the Upstate New York Region and the international community. His own work includes the founding of JIP (Jewish Identity Presentation), an ongoing project examining contemporary Jewish identity in relationship to the body.

ArielShanberg

The 1990 workshops was my second internship at CPW. I also interned in 1988 and I felt so strongly about the experience that I decided to return. The workshops were valuable to me as a photographer, but equally as important was the experience I got as an assistant to the workshop program and to guest artists ... / feel that this gave me confidence and knowledge in production IPR work which is what I am pursuing as a career ... as a result, I am better prepared to pursue my goals.

-Marianne Courville

Interning at the Center was an exhilarating experience ... ! learned something new about administration every step of the way. The Center is truly a place for artists to join hands and discuss today's art issues. Thank you so much for all your help that you gave to me regarding my resume and portfolioby the time I go out to find a job I will have what I need.

-Melissa Saviano

I'm interested in a teaching career because I want to share my learning experience in the USA with Japanese students. The freedom of expression in the USA is much stronger that that in Japan What I want to learn through the arts internship at the Center is to see how a gallery is organized. I want to have more knowledge about contemporary photography, artists, and trends. I want to learn about team work and how to cooperate with others.

-Mizuyo Aburano

Without this internship, I would have looked at the photography world from "the outside looking in. " I would have studied techniques, read photo theory and criticism, studied art history, and attended lectures given by well-known photographers. Yet after all of this study, the world of photography would have been inaccessible to me. The internship allowed me to look at the photography world from the inside, and was a stepping stone of opportunity.-Pauline Hubert

The CPW internship was a poignant experience in my life and growth as a young photographer and, to date, the most important milestone in my photographic education. The most useful thing / learned as a CPW intern is the multitude of opportunities available to a young artist in the professional world, not the least of which is the involvement in not-for-profit organizations such as CPW. I realize that the Center's workshop are building blocks to the art of tomorrow and perpetuate photography as a vital art form.-Janice Nagle

Thank You

THE CENTERFOR PHOTOGRAPHYAT WOODSTOCK is honoredto thankthe benefactorswho contributedto our capitaldrive1990-1999 COMING HOME: BUILDING OUR FUTURE

Our dreams of expansion have come true because of you: Individuals Bruce Bennett,Adele Brown,Ellen Carey, Philip Cavanaugh,KellyCowan,Liza Cowan,PenelopeDixon,Richard Edelman,SusanFerris,LindaFreeman& ArthurHochstein,Phyllis Galembo,Susan Fowler-Gallagher,Edward Garbarino,Evelyn Gluckman,Suzanne& John Golden, Jack Grainger,Howard Greenberg,Karen& BruceGreenwald,ElliotGruenberg,DavidHall, MaryAliceHartshorn,RaymondHatch,RollinHill, StuartHoward, W.M. Hunt, Kenro lzu, DouglasJames,Greg & LouiseKandel, Peter& BarbaraKenner,ColleenKenyon,KathleenKenyonSr., Kevin& JaneKenyon,KenKetay,Arie Kopelman,SaraKuniyoshi, RebeccaLawton,Gail LeBoff,DavidLeigh,DougLevere,Ellen& DavidLevy,Marcia& WilliamLevy,Eric Lindbloom,DavidLoeb, AnnLovett,JohnLudwig,GeorgeMaggiolo,PeterMacGill,Susan& JamesManuso,Betty Marks,MarciaReedMarsted,Bill Mindlin, ElliottMeisel,Marc Miller,Ann Morse,Andy Moss,Jeff Milstein, GloriaNimetz,Jose Picayo,J. RandallPlummer,Lilo Raymond, ThomasReiner,ThomasRemien,Joan& FarrellReynolds,George Riling,ErnestineRuben,JohnSchupf,Stephanie& FredShuman, Ken Shung,RobertStang,RobertStern, Neil Trager,Albert & HarrietTannin,AlanSiegel,DavidTefft,Bob& MaryAnnWagner, SteveZagar.Corporate, Foundation, & Public Akin,Gump, Strauss,Hauer,& FeldLawFirm,Milton& SallyAveryFoundation, Central Hudson,Stephen Cohen Gallery, DouglasC. James CharitableTrust,DigitalDesignStudio,EastmanKodakCompany, ForbesFoundation,Goodall& Sons,IBMCorporationMatchingGift Program,ImageBank,Andre& ElizabethKerteszFoundation,Light Impressions,ManagementConsultantsfor the Arts, National Endowmentfor the Arts VisualArts AdvancementProgram,New YorkStateCouncilon theArts CapitalAid & Architecture& Design Programs,NewYorkTelephone,PhotographyIn NewYork,Aaron Siskind Foundation,WoodstockChimesFoundation.In Kind Services DeborahBerke,EllenCarey,StuartDeHaan,JulieGalant/ Fotofolio,Gibbon& SchusslerBuilding,GeraldGoldman,Timothy Greenfield-Sanders,Kenro lzu, Greg Kandel,Kitty McCullough, AmandaMeans,Elliot Meisel,Sheila Metzner,Marc Miller, Vik Muniz, Joan Munkacsi,North Engineers,Robert Persky,Mark Seliger,MichaelStock,WoodstockBuildingSupply.Staff Colleen Kenyon,KathleenKenyon,LawrenceLewis,KateMenconeri,Judi Esmond,ArielShanberg.

Please visit & celebrate with us our newly renovated street level galleries this fall.