Photography Quarterly #85

FEBRUARY7-9, 2003

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Exhibitions

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Lectures

Saturday,February 8 10:30am

Visions:FiveNewYorkMuseums

A roundtabl,ediscussionof Strategi,esof Institutional Colwctingand Programming

PeterGalassi,Museum of Modem Art

Thelma Golaen,Studio Museum in Harlem

Jeff Rosenheim,The Metropolitan Museum of Art

Brian Wallis,International Center for Photography

Sylvia Wolf,Whitney Museum of American Art

Sunday,February 9 11:00am

A Conversationwith ThomasStruth

Maria MorrisHambourg, The Metropolitan Museum of Art

DouglasEldund, The Metropolitan Museum of Art

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Homeland PQ #85

p/4

IMAGINARY HOMELANDS:

Reconstituted Narratives In The Digital Landscape

Kathleen Ruiz

Kofi Amponsha, Anuar Ayob, Tom Bamberger; Meghan Boody, Sigrid Hackenberg, Rachelle Menshikova, Guto Nobrega, Lazarina Todorova, Elyn Zimmerman

p / 16

PHOTOGRAPHY NOW

Kathy Ryan

Susan Bank, Brian Cassidy,Wendy Levine, Greg Martin, Richard Press, Robert J.Vizzini

p / 23 IN LIGHT

Marla Sweeney

p / 24

NOTED BOOKS AND REVIEW

Leah Koransky

Cover© J.Vizzini, Star Bridge,New York,NY, 1999, gsp

This page © Elyn Zimmerman, Paestum,from the series MAGNA GRJE.cJA,1995, iris print

1mag1nary homelands:

RECONSTITUTED NARRATIVES IN THE DIGITAL LANDSCAPE

It may be that writers ... exiles or emigrants or expatriates, are haunted by some sense of loss, some urge to reclaim, to look back, even at the risk of being mutated into pillars of salt. But if we do look back, we must also do so in the knowledge - which gives rise to profound uncertainties - that our physical alienation ... almost inevitably means that we will not be capable of reclaiming precisely that thing that was lost; that we will, in short, create fictions, not actual cities or villages, but invisible ones, imaginary homelands of the mind.

.. .It may be argued that the past is a country, from which we have all emigrated, that its loss is part of our common humanity

-Salman Rushdie 1

Imaginary Homelands: Reconstituted Narratives in the Digital Landscapeis an exhibition exploring the notion of "homeland" within the context of the transience, portability, and flexibility of digital media. The exhibition includes the work of a diverse group of nine artists who investigate this subject using digital media ranging from photographic and video methodologies to interactive virtual environment installations. Each artist presents a strong personal, political or psychological discourse on the preservation, reflection, exploration, and longing for a home that may or may not be actual. The works presented are created by artists from Ghana, Latvia, Israel, Malaysia, Spain, America, Brazil, and Bulgaria. The title is taken from Salman Rushdie's collection of essays and criticism of the same name -his ten-year personal and intellectual odyssey that records the politics and irony of culture, film, religious fundamentalism, racial prejudice, and the preciousness of the imagination and free expression.The common theme seen throughout the work included in the Imaginary Homelands exhibition is coping with transience, a topic that is especially relevant in our current times of displacement, globalization, and the turmoil of unresolved conflicts worldwide.

Imaginary Homelands presents combinations of traditional and digital techniques. The show is intended to inspire artists to explore new forms of expression for the future. It is the very slipperiness of our digital storehouses that so wonderfully reflects our own impermanence, while at the same time they promise us the immortality of Lyotard's notion of thought existing without a body and more appropriately here without a permanent physical home. 2

Born in Malaysia, Anuar Ayob came to the United States two years ago to further his study in Electronic Arts at RPI. His work deals with issues of the social and cultural identity of the Malay people. Being a foreigner in the U.S., and faced with different cultures, issues, perceptions, and complications, Ayob has produced videos, installations, and works created for the internet that relate to his homeland. In PRESERVING MALAY, a IO minute single channel video created in 2002, Ayob portrays the lifestyles of a family from Malaysia, who has been living in Troy, New York for the past 8 years.

The video is about parents who are trying to enlighten and maintain the identity of their children by teaching them the culture, language, and the lifestyles of the Malay people and Islamic practice. This experimental documentary was a collaboration with all the family members, who were not only the subjects portrayed, but the creators who also recorded some of the footage.

Anuar Ayob. video stills from PRESERVINGMALAY.2002, IO minute single-channel video

Tom Bamberger, a photographer, who lives in Milwaukee, is cu'rrently exploring landscape photography as a "meditation on truth". Here he presents recent work that uses digital techniques to form repetitive elements from "real" landscape photographs. He begins by extending the boundaries of the horizon line to exceed beyond 360 degrees. Using the computer to clone and erase sections of his landscape photographs, Bamberger extends the information that comes from the smaller frame of a camera in an almost biologic process akin to reproductive copying of DNA.

Bamberger describes his method as "processing and choosing elements that seem more 'natural' or just natural enough to not seem synthetic." His pieces California Homes and Spring Trees, suggest both what one feels intuitively to be the patterns of the synthetic and those of the landscapes of nature. He leaves us finding solace in repetition and opens us to see profound clarity within the quotidian.

Tom Bamberger, CaliforniaHomes, 2002, detail. 12 x 51", Inkjet print,

Courtesy LeslieTonkonowArtwork + Projects,NYC

Meghan Boody exhibits the "imaginary homelands" residing within the territory of the mind. A New York based artist, trained as a photographer, Boody creates elaborate surrealistic and psychologically charged narratives of young girls' metamorphosis into adolescence. She photographs models and friends who are costumed and posed as symbolic figures for her final compositions, which are composed within the computer and then digitally printed.

Psyche and Smut is an ongoing series of large prints arranged like pages from a book which tell the tale of "a 'proper, well-bred' young girl's journey into the darkly

erotic side of her own self, the struggle for supremacy between the 'good twin' and the 'evil twin' (id versus ego), and the eventual transformations that both selves undergo in the process of incorporating into one singular soul." 4 Boody's allegory of the acculturation of girls into the often-restrictive roles that societies ascribe for them transforms photography from what is traditionally an instrument of verification to one that rearranges histories and clears the view to reveal simultaneity of events whose origins lie in the use of photomontage within the art movements of Dada and Surrealism.

Meghan Boody, Psyche Enters(#/), 1999, 56 1/4 x 41 1/,", Lightjet print, custom frame.

CourtesySandra Gehring Gallery,NYC

Rachelle Menshikova, a Russian born Israeli, presents As It Happens, a 20 minute video consisting of a collection of personal narratives by young Israeli women who talk about their lives at particular moments: first during the negotiations at Camp David in the summer of 2000 and again in 2002, as the ongoing current war/struggle in Israel becomes almost consuming. As It Happens gives a voice to women situated in their home environments and gives the private voice exposure in public. Rachelle states, "I believe, we all (artists in particular) function bringing a witness to this world. One tends to expect certain integrity from a witness, at least integrity in a sense of honesty and sincerity. The accent on the witness from this perspective was one of the goals taken in this work. Even though the work has no claim to be an historical document, I still feel the importance of sticking to the truths living in my friends' (the interviewed women) feelings and emotions."

She further states, "This conflict, locked in the condition of 'no exit', teaches us among other things to stop asking the popular question 'how is it going to end?' This very desire for resolution, being a part of human nature, when taken to the extremes, fuels the fires of aggression and violence. Through exposing the emotional experiences of people's voices in this work I hope to offer a chance to the Western cultured audience to realize that they are not watching and involving themselves in a Western movie which has a stable continuation on TV screens daily, but rather witnessing a tragedy of two nations. The women talking throughout As It Happens are mothers and their connections between the past and the future as well as between the fantasy and the fear are particularly distinctive due to their maternal instincts, which function as driving forces for each of their child's survival from the beginning of the pregnancy. I believe that creating a portrait based on witnessing emotional subjective experience allows us to rethink the values for realness, making an addition to the political circumstances."

Rachellle's powerful narrative presents the complexities of survival in extremely difficult circumstances and gives us hope that life continues even as one faces conflicts which threaten states, regions, or territories.

Rachelle Menshikova, video stills from As It Happens, 2002, 20 minute, single-chan~_elvideo

Guto Nobregawas born in Brazil in 1965 and is a professor at the School of Fine Arts in the Universidade Federal do Rio de Janeiro. His interests center around interactivity and interface as a way to think about and construct new realities with the help of digital technologies. Nobrega asks us to consider that the digital body is converging as a hybrid with our physical body and space. Cache Memory is a work about time and memory. His childhood photographs were used as reference and inspiration for the contemporary re-photographing of those exact places, although he is no longer there posed as a child. Memory is recovered by the photos and the memory of the computer that allows interaction with the digital image on the screen. Cache Memory shows that the past, the present, and the future can become one by a mere click of the finger.

Guto Nobrega, screen stills from CacheMemory, 2002, interactive digital screen based work

Lazarina Todorova was born in 1977 in the town of Plovdiv, Bulgaria. Todorova's video and installation work aspire to articulate the complexity and relevance of issues of migration, mobility, assimilation, cultural identification and alienation, the re-discovery of "roots" and origins, the longing for belonging, and the hybridity of the self. Her recent creative endeavors reflect "a deeply personal engagement with the themes of transnational experience and displacement." Her work, Untitled, 200 I is an I I minute single-channel video and is an autobiographical work, communicating a desire to re-invent the idea of home, both as a tangible experience situated in the physicality of geography and as a dislocated presence/absence that inhabits the realm of the imaginary.

Two parallel worlds (one of fast-paced, media-saturated dynamism and the other of seemingly reassuring permanence and simplicity) are represented through the two interweaving portraits of the artist and her grandmother. Shifting between modes of dissonance and synchronicity, their relationship grows to transcend the reductive binaries of culture, tradition, and individualism and affirms a deep spiritual connection of both cultural transmission and transformation. Shards of memory acquire greater status and greater resonance as trivial things become symbols for not only the subjects in the video, but also for us, the viewer.

Lazarina Todorova, video stills from Untitled,200 I, I I minute single-channel video

Elyn Zimmerman is a New York based artist, born in Philadelphia, PA, who works in a variety of media including stone, photography, and digital media. Her photographs of archaic structures and ruins worldwide serve as a personal library of images that inform and stimulate her work as a sculptor of large scale stone works, often for Public Art commissions.

Her work conveys a strong longing for permanence in a fleeting world. The Iris digital ink jet prints in the MAGNA GRJECIA series are, in the artists words, "very traditional images, but framed with a modern 'eye'. They refer to the long tradition of 19th Century travel photography and its fine-grained verisimilitude, but have been freely altered in large and small ways with the magic of Photoshop." Zimmerman makes a compelling study of the mutable imagescape of the ancient remains of the once flourishing Greek seaport colonies of southern Italy and Sicily.5

Elyn Zimmerman, Paestum,1995, from the series MAGNA GRIECIA,24x30" Iris print

Digital media reflect and even conserve our transience as human beings who have a finite time and place in the world. Its portability and flexibility help to preserve, bridge and express aspects of our physical or mental alienation from our place of birth or temporal remembrances

the photograph tells me to invert. it reminds me that it's my present that is foreign,and that the past is home, albeit a lost home in a lost city in the mists of lost time being claimed,or informed that the facts of my faraway life were illusions,and that this continuity was the reality. 6

Color, texture, sound, and movement flavor the composition of location. They echo the grandness that once was, or still is, whether from within ones' cultural practice or from without. The artists' in the Imaginary Homelands exhibition recollect the landscape, reflecting elements of the everyday which become monumental in their reconstituted state. Conserved in the digital realm, their "imaginary homelands" live and breathe and impart to others a sense of who we are and what is held to be important.

-Kathleen Ruiz, 2002

I. Rushdie, Salman. Imaginary Homelands: Essays and Criticism 1981-199 I. New York, Penguin Books, 1991, pgs. IO & I 2.

2. Lyotard, Jean-Francois.,The Inhuman: Reflections on Time Fr. 1988, Stanford: Stanford University Press, I 991, pgs. I I -I 5.

3. Crary.Jonathan.Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Mass.:MIT Press, Cambridge, I 990, pgs.123-124.

4. Korotkin, Joyce, "The New York Art World", October 2000.

5. Lunenfeld, Peter. Snap to Grid: A User's Guide to Digital Arts, Media, and Cultures, Boston, The MIT Press, 2000, pg. 69.

6. Rushdie, Salman. Imaginary Homelands: Essaysand Criticism 198I -I 991, New York, Penguin Books, 199 I, pg. 9.

Kathleen Ruiz is a digital media artist, curator, and Assistant Professor of Electronic Arts at Rensselaer Polytechnic Institute in Troy, NY.

Special thanks to john Kolb, Sharon Roy, Marc Miller, and Patrick Valiquette at RensselaerPolytechnic Institute for the loan of laptop computers.Also a special thanks to Sigrid Hackenberg who is the inspiration for the title of the exhibition and to Frances Gray for her encouragementAdditionally a huge thanks to Ariel, Kate, Leah, Larry, Colleen, Kathleen, and all the CPW board and staff for enabling this exhibition to occur.

Imaginary Homelands originated as a Center for Photography at Woodstock exhibition November 2 • December 22, 2002, curated by Kathleen Ruiz, and is available for travel.

SELECTIONS & TEXT BY

KATHY RYAN

PHOTO EDITOR, NEW YORKTIMESMAGAZINE

The most memorable pictures this year were those that reflected observation of the real world. The ascendance of documentary photography at this moment in time was definitely reaffirmed by the strength of the images that follow. The very best pictures are those depicting a smart and truthful rendering of a human story and images that place unexpected and savvy attention on the ordinary in life.

Visit us on-line at www.cpw.org to see more images by the 2002 Photography Now winners and in full color.

Greg Martin (New York, NY-) organizesthe frenetic chaos of tangled, barren tree branches into a series of finely seen images that consistently adhere to a very specific and carefully chosen set of framing and color criteria. These are documentations of actual

existing trees of course, but they also deliver a deeply satisfying feeling of visual harmony and order that is more akin to the experience of viewing a fine abstract painting.

High Point Mountain Experiment #300, 2002 C-print

High Point Mountain Experiment #308, 2002 C-print

Surely one of the most challenging themes a photographer can choose as a subject is baseball,as it has been so well covered in the past.The danger of falling into cliches is great BrianCassidy (Poughkeepsie, NY) has totally eluded this risk because his visual language is fresh and startling. His use of flash married to his unerring ability to capture his subjects at just the right moment

of significance makes him a powerful storyteller. He seeks out the high drama that is to be found in the ordinary little scenes going on at these games. He has figured out a way to bring us straight to the heart of the emotional realities of his sitters at the moment he shoots them.

Grandstands# I, 2002 Inkjet print

Grandstands# 2, 2002 Inkjet print

WendyLevine's(Houston.TX) witty still lives of domesticity are filled with the details of a life with children. She is a great narrative photographer who can spin a tale without ever showing a person. Her pictures are populated by kids' lunchboxes, cereal bowls, toothpaste, paintings, bananas, and laundry baskets. They are

distinguished pictorially by her keen appreciation for the interplay of primary colors. These pictures first appeal to the viewer on a purely primitive sensual level in the way a bright red apple does. Then upon closer reading, each image delivers a joyful and humorous reflection upon parenthood.

Mouse House For Spiders,2002 C-print

Lunch Prep,200 I C-print

Susan Bank's (Philidelphia, PA) image of an adolescent boy on roller blades standing alongside a Coca Cola dispensing machine is riveting. It is hard to avoid the boy's stare and there seems to be something deeply unsettling about this scene. Her moody images are meaningful vignettes of contemporary life that manage to depict fully fleshed out characters in a single frame.

SalisburyBeach,2000 gelatin silver print

SalisburyBeach, 1998 gelatin silver print

The access necessary to get close to a newsworthy event can often be the deciding factor between whether an important moment is documented for history or not. Following the tragedy of September I I, RichardPress( Brooklyn, NY) realized how worthy it would be to continue to follow the work of identifying

the victims, a process that would go on for a long time. He spent time at Fresh Kills where specially suited men were sorting the evidence. Although we never see a face, these eerily silent pictures in this surreal landscape are heartbreaking.

FreshKills #3, 2002 C-print

Office of the County Medical Examiner# I, 2002 C-print

Robert J,Vizzini's (New York, NY) beautiful photographs are love poems to New York. He takes on the big landmarks and makes them his own through his spare and elegant eye. His classical sensibility is deftly applied to the Statue of Liberty, the Empire State Building, roads and bridges. Nighttime and moody

skies always reign in his pictures. Whether he is isolating out the underside of a roadway across a bridge or focusing our attention on tenement buildings seen through a rain smudged window screen, there is no doubt about how he feels about his subject.

Summer Rain, New York,NY, 1998, gelatin silver print

RoadwayStructure, New York,NY, 1999, gelatin silver print

in light maria sweeney

My series, American Portraits, examines the American small town. I took these photographs in different communities small and large, rural and suburban, and combined portraiture with landscape photography to depict a way of life. I have brought my camera to neighborhoods, vacation colonies, recreational areas and town centers. Each of these environments is unique, and yet they share common elements. The houses, front porches, yards, and gardens, all reflect the expectations and personalities of the people within.

A portrait for me is the outcome of quiet observation and awareness of expressions, gestures, details, and subtleties. I try to convey the subjects' weight and authenticity. The people in these images are not staged; the photographs are points where my way of seeing and the way people present themselves to me overlap. It is a combination of confrontation and intimacy.A portrait is as much about the photographer as it is about the subject. I believe that you see yourself most clearly when you see yourself as a stranger. Taken as a whole this series tells a story and presents a personal vision of contemporary America.

Marla Sweeneyshows at the Yossi Milo Gallery in NYC, her most recent work will be on exhibit in early 2003.Additionally she has been featured in exhibitions at Fotofest in Houston, TX; SOHO Photo in NYC, and at the Center for Photography and published in The Photo Review,The New Yorker,and Zoom. In 2002 Marla received a CPW Photographers' Fellowship Fund award. She currently lives and works in High Falls, NY.

In Light artists are selected from the Center's Slide Registry - a slide archive of contemporary photography, mixed media, and digital imagery. le provides a bridge between artists, curators, collectors, educators, and the Center, making contemporary work easy co access - by appointmentWednesday co Sunday noon co 5pm.

(c) Marla Sweeney, Justine, 2002 C-princ

NOTED BOOKS

Adobe Photoshop 7.0 for Photographers, Martin Evening,Focal Press, Woburn, MA; 2002, solt cover, color and black-&-white photographs.

A~er the Smoke Clears: Struggling to Get By in Rustbelt America, Steve Mellon, University of Pittsburgh Press; 2002, hard cover, black-&white photographs.

American Photographers and The National Parks, Robert Cahn and Robert Glenn Ketchum, the Viking Press (A Studio Book), New York, NY; 1981, hard cover, color and black-&-white photographs. Donated by Robert Glenn Ketchum.

The Artist Portrait Series: Images of Contemporary African American Artists, text and photographs by Fern Logan, foreword by Margaret Rose Vendryes, essay by Deborah Willis, Southern llinois University Press, Carbondale and Edwardsville; 200 I, hard cover, black&-white photographs.

Bearing Witness, photographs by Thomas McGovern.Visual AIDS/A.R.T. Press, New York, NY; 1999, hard cover, black-&-white photographs. Donated by Thomas McGovern

De Bril Van Anceaux/Anceaux's Glasses: Anthropological Photography Since I 860, Linda Roodenburg, University ofWashington Press,Seattle; 2002, solt cover, black-&-white photographs. In English and Dutch.

Dressed for Thrills: I 00 Years of Halloween Costumes & Masquerade, photographs by Phyllis Galembo, foreword by Valerie Steele, essays by Mark Alice Durant and Phyllis Galembo, Harry N. Abrams, Inc., New York, NY; 2002, hard cover, color photographs.

Flowers In Shadow: A Photographer Rediscovers a Victorian Botanical Journal, photographs by Zeva Oelbaum, foreword by Susan Orlean, introduction and captions by Sara Stein, Rizzoli, New York, NY; 2002, hard cover, black-&-white photographs. Donated by the artist.

The Hudson River & the Highlands, photographs by Robert Glenn Ketchum, essay by JamesThomas Flexner,Aperture, New York, NY; 1985, hard cover, color photographs. Donated by the Artist.

Pedro Paramo, story by Juan Rulfo, photographs by Josephine Sacabo, translated by Margaret Sayers Peden, University of Texas Press,Austin; 2002, hard cover, color photographs. (see review below)

Presidio Gateways: Views of a National Landmark at San Francisco's Golden Gate, photographs by Robert Glenn Ketchum, Linda Butler, and Mary Swisher, contributions by Lyle Gomes and Brenda Tharp, text by Delphine Hirasuna, afterword by Roger G. Kennedy, Golden Gate Park Association and Chronicle Books, San Francisco; 1994, hard cover, color and black-&-white photographs. Donated by Robert Glenn Ketchum.

Roy Lichtenstein: Times Square Mural, catalog, Roy Lichtenstein Foundation and Mitchell-Innes & Nash, New York, NY; 2002, solt cover, color photographs.

Threads of Light: Chinese Embroidery from Suzhou and the Photography of Robert Glenn Ketchum, edited by Patrick Dowdey with contributions by Zhang Meifang, Patrick Dowdey, Robert Glenn Ketchum, and Jo Q. Hill, UCLA Fowler Museum of Cultural History, Los Angeles; 1999, soft cover, color photographs. Donated by the artist.

The Tongass:Alaska's Vanishing Rain Forest, photographs by Robert Glenn Ketchum, introduction by Roderick Nash, text by Robert Glenn Ketchum and Carey D. Ketchum, preface by Steve Kallick, Aperture Foundation, Inc., New York, NY; 1986, soft cover, color photographs. Donated by the artist

Treadwell, photographs by Andrea Modica, essay by E.Annie Proulx, a Constance Sullivan Book, Chronicle Books, San Francisco; 1996, hard cover, black-&-white photographs. Donated by the artist.

Wise Women:A Celebration ofTheir Insights, Courage, and Beauty, photographs by JoyceTenneson, a Bullfinch Press book, Little, Brown, and Company, Boston; 2002, hard cover, color photographs. Donated by the artist.

editor, Leah Koransky

Pedro Paramo

with photographic illustrations by Josephine Sacabo

Leading us instinctively through the landscape of Comala, Mexico, Texas-born photographer Josephine Sacabo illuminates the spirit of death and darkness in Pedro Paramo, written by Juan Rulfo in 1955, translated by Margaret Sayers Peden (University of Texas Press, 2002, $35 hardcover). Two amazing imaginations coincide in this striking new illustrated edition of Rulfo's classic tale.

Rulfo's story is of young Juan Preciado's journey into Comala, the abandoned Mexican farming town in which he searches for his estranged father. He quickly learns that in this haunted place, "there was no air, only the dead." It is the spirits who guide both the protagonist and the reader through the history of Comala's corrupt patriarchy, and reveal the story of anguished heroine Susana San Juan. Using Susana as a starting point for her photographic series, Sacabo's images add another level of interpretation to Rulfo's narrative. Susana's madness becomes her means of escape and a place of true freedom and independence. She would rather die than live by the cultural mores she detests.

Sacabo draws light out from darkness, first finding the facets of a landscape that correspond with Rulfo's prose, then creating brooding images with intense highlights and rich blacks.The places in her pictures are the ethereal traps of memory; sinister shadows hold information we are not sure is really there. The photographs seem to have been brushed with a strong wind, where the edges of recognizable forms blend into one another and time has aged the truth. Sacabo illustrates the unknown world of the non-living with tangible figures as well as graveyards, buildings, paths and the inhospitable landscape that the spirits of Comala would inhabit. She makes a declaration of what the ghost town looks and feels like, and by taking us there convinces us that it must be real. As if the light within her photographs emanates from glowing embers of the deceased, Sacabo's narration shows a beautiful confidence in death and depicts it as remarkable and omnipresent.

-Leah Koransky, 2002

/,v,lu.Jn Rulfo

curator of photography, Geo

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