Photography Quarterly #90

photograph

September/October 2004 $5

Trichu,;Kera/a,1985 © 1986 Raghubir Singh-Succession Raghublr Singh. Courtesy SEPlA/Alkazi Collection.

photograph the bi-monthl!d USA guide to exhibitions, private dealers, auctions, events, resources, news and lots more. One-!dear subscription: $35 us, $40 Canada, $70 all other. PabJment in US funds on a US bank or AmEx, MC, Visa.

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p4

Introduction p 6-31

Auction Lots photographs offered for sale p 32-35

26th ANNUAL BENEFIT AUCTION

Fine Historic & Contemporary Photographs to benefit the Center for Photography at Woodstock

LIVE SALE

Saturday,October 9, 2004 at The Woodstock Town Hall, 7pm Alison Wines reception & hors d'oeuvres

Auction admission is free with this catalog which admits up to two guests to the sale.

PRINT PREVIEW

Prints will be on view at the Center from September 24-October 8, Wed-Sun, I 2-5pm. Lots will be posted online at www.cpw.org & on the day of the sale can be viewed at the Woodstock Town Hall, 76 Tinker Street, I 2-5pm.

NYC PREVIEW PARTY

Tuesday,September 21, 6-Bpm

Join us in NYC at the Howard Greenberg Gallery, 41 East 57th Street 14th fioor, for a very special preview of highlights with hosts Howard Greenberg, RickWester, and special guests.$20 admission per guest includes auction catalog and admission for two to October sale.

ABSENTEE & BID FORMS ARE IN THIS CATALOG

Prospective buyers are encouraged to personally view work for sale during preview or by appointment.You may also call CPW directly to request a condition report on any lot.

T 845 679 9957 I 845 679 7747 F 845 679 6337 / info@cpw.org

PHOTOGRAPHY Quarterly is published by the Center for Photography at Woodstock (CPW), 59 Tinker Street. Woodstock, NY 12498. Copyright 2004, 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 essaysbelongsto the authors.Allopinions,ideasand illustrationsare those of the writers and artiststhemselvesand do not in any way representofficialpolicyof CPW or its membership.ISSN 0890-4634. PhotographyQuarterly is printedby Ruder FinnPrintingand distributedby UbiquityDistributors,Brooklyn,NY I 1217;Editors, Kate Menconeri,ArielShanberg;Editorial Assistant, Liz Glynn; Ad Manager, LawrenceP.Lewis,Copywork, JudiEsmond;Typesetting, DigitalDesignStudio,Kingston,NY. Cover:© JamesFee,LiquidSky,Pele/iu,SouthPacipc,200 I, C-print.

Board of Directors: DanielCooney,SusanFerris.WM. Hunt, David Karp,David Maloney,Kitty McCullough,YossiMilo, EmmaMissouri,Dion Ogust,Robert Peacock,Kathleen Ruiz.Ariel Shanberg.Alan Siegel,Gerald Slota,BobWagner.Advisory Board: PhilipCavanaugh,BrianPaulClamp.JulieGalant,AlexanderGrey,Howard Greenberg-Founder,Sue Hartshorn,SarahHasted Mann,Doug James.Julia Joern,EllenLevy,Peter MacGill,Marcia Reid Marsted,Elliott Meisel.JeffreyMilstein.AnnMorse, SarahMorthland,Gloria Nimetz, SandraPhillips,Lilo Raymond,ErnestineRuben,Neil Trager,RickWester. Staff: Ariel Shanberg,Kate Menconeri,LawrenceP.Lewis,Liz Glynn,FawnPotash.Thank you interns:Brooke Berger,Colleen O'Connor,Charlie Shipman,Mary lake, andAndrew Katzowitz.

INTRODUCTION

Wicome to the Center for Photography at Woodstock's 26th annual benefit auction catalog. Each year the fall issue of PHOTOGRAPHY Quarterly features our annual benefit auction, which serves as CPW's primary fundraising event to support our year-round creative and educational programs.And, it is with great pleasurethat we present our benefit catalog in full color for the first time ever!

While the Center's annual benefit auction is about fostering a love of photography, matching collectors and those passionate about photography with exciting new voices and iconic historic ones, it is most importantly about next year.It is about ensuring that in the coming year photographers and their audiences will have a place, in which they can learn, grow, and share. It is about guaranteeing that people of all backgrounds and interests can come and be amazed, moved, and learn through the photographic arts. In the year since our last annual benefit auction, CPW has provided those things and so much more.

Over the past twelve months CPW has worked with hundreds of artists! We've hosted educational workshops and lectures with such luminaries as Eugene Richards, Mary Ellen Mark, and Robert Glenn Ketchum.We've presented numerous exhibitions including our previous issue's feature on youth culture in contemporary photographs curated by Nancy Barr and Carlo McCormick and provided professional workspace and support for three artists-in-residence. The Photography Salon group, which was reestablished last fall, has met monthly and fostered discussion and growth that wouldn't be possible for photographers working in isolation and without community. We've collaborated with other organizations, sharing our expertise and resources to enhance the level of the arts in our region with such tremendous groups including the lndie Media Lab Project at Onteora High School, the Catskill Mountain Foundation, and the Woodstock Film Festival.

This summer we inaugurated the VISION AWARDS. Created to recognize excellence in the field of photography for leadership and artistic excellence,the 2004 Awards honored the tremendous accomplishments of John Dugdale whose photographic vision surpassesphysical limitations and who so generously opened his home and world to Sarah Morthland in a beautiful interview featured in this issue.Colleen

Kenyon and Kathleen Kenyon were honored for over two-decades of leadership of the Center for Photography at Woodstock. Taking a small organization and making it an internationally recognized institution was a tremendous act of love and dedication for which we have all benefited.

Now as the year brings us to our 26th annual benefit auction of fine historic and contemporary photography we find CPW's accomplishments supported by the amazing array and number of photographs, which appear in this year's sale.The prints have come from across the world and from artists who have been part of CPW's history. They were contributed to ensure that come next year,CPW's offerings will continue to benefit thousands more!

We look forward to seeing you and celebrating photography here in Woodstock on October 9th!

- Ariel, Kate, Larry, & Liz

Enormousthanks to: the artists, galleries,and donors who contributed work to this benefit;and to all our volunteers,advertisers,and support staff-this benefitwould not be possible withoutyour amazing help!

Additionally a very special thanks to our Primary Printing SponsorRuder Finn Printing Service whose support has made this issue of the Quarterly possible and to our benefit auction's Wine Reception Sponsor Alison Wines & Vineyards. So much of what the Center for Photographydoes is about collaborationand partnershipsand we are very pleased to have wonderfulpartners in producingthis benefitevent.

Founded in 1977,the Center for Photography is a 501 (c)3 not-for-profit organization run by artists for artists and their audiences.Celebrating over 25 years of service, the Center hosts innovative programs in exhibition, education, publication, and services, including year round exhibits of new artists, the Woodstock Photography Workshop and Lecture series,classesfor kids, artist residencies,internships, community darkroom, and more. For many of the artists we serve (now over 12,000!),the Center has provided their first major recognition in the field.We educate and promote future generations of artists and create an international dialogue about contemporary photographic arts.

© Irving Penn,Womanw!Handkerchief,ljean Patchett)NY, I 951, 1984,gsp.

© David Maisel, TerminalMirage#ll l-4, 2004, C-print.

RUDER•FINN

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PRE-PRESS

PRESS DEPARTMENT

BINDERY

All contemporary prints are courtesy the artist in addition to donors and/or gallery noted.

I. Pritzker, Burton, Steer #7,Art, Texas, 2004, ed#7/25,gsp, signed in pencil on back of print, I8x 12",$400/600.

2. Sands, Wendy G., Les Palmiers/, 2004, ed#2/25, gsp, signed in pencil on back and front of mat, 191/ 1 xl2½", $300/500.

3. Levy, Carrie, Untitled (from Domestic Stages series), 2004,AP, C-print, signed in pen on back of print, 20x24", $1000/1500.

4. Claire, Leilani,Amsterdam 2004, 2004, ed# I/50, hand painted gsp, signed in pencil on front of print, I 3x 11", $250/500.

5. Kelley, Heather Ryan, Diamond

Factory,2000, Ektacolor w/ mixed media, signed in pencil on front of mount, 8x6 11,", $250/500.

6. Schock,Anne Liejedahl, Still Lifewl Egg & Key,2000, gsp, signed in pencil on front of print, 5 11,x4", $200/300.

7. Homer, Pat, lotus, 2004, ed#3/ 15, inkjet on vellum, signed in pencil on front of print, 7x4½", $200/400.

8. Kuwayama, Teru, Tenzing Rinpoche's 5th Birthday,2000, ed#S/ I0, gsp, signed in pencil on back of print, I 6x20", $750/1500.

9. Arlen,Ann Covington Warner, Morning GloryNo. I, 2004, archival inkjet, signed in pen on back of print, 1611,xl 2'/4",$200/400.

10. Uelsmann,Jerry N., Untitled (hands

- figure on clouds - house), 1989, gsp, signed in pen on back of print and initialed on front of mat, I0 11, x 13", $800/1600.

I I. Esmond, Judi, Untitled (Kingston, NY, 2000), 2004, toned gsp, signed on back of print, 6x9", $200/400.

12. De Warren, Patrick, Untitled (Dark Water), 2003, C-print, signed in pen on back of print, I 2x 17¼", $500/750.

13. Stratton, Margaret, Mural,Pompeii, 2004,ed#l/15,quad tone digital print, signed in pencil on back of mount, I4x 18",$500/800.

14. Matthew,Annu Palakunnathu, India.-lndiranages,1985,gsp, signed in pen on front of print, 3½x5½", $250/500.

15. Burkholder, Dan, Flatironin Spring,

NY, 2002, ed# 15/50, pigment over platinum, signed in pencil front of print, 6x9", $500/700.

16. Schoeller, Martin, PasangTendi Sherpa with wife, Lhakpa Do/ma,and grandchild,2002 2004, AP,C-print, signed in pencil on back of print, I 6x20", $1500/2500.

17. Barkai, Marga, A/one in the Shadow, 2004, C-print, signed in pen on back of print, IOx IO",$500/750.

18. Harris, Phil, Hand ofKindness,2003, platinum/palladium, signed in pencil on back of mount/mat, 5x4", $250/500.

19. Smith, Henry Holmes, Dancers 1952-1972, from the Center for Photographic Studies Portfolio, 1972,gsp, signed in pencil on front of mount, 8x6 1/4", $ I 500/2000. Courtesydonor Alma Davenport,Jamestown,RI.

20. Miller,Aaron, Untitled (rug corner), 2004, gsp, signed in pencil on back of print, I 2x9", $300/600.

21. Dunkerley, Susan, Take Flight,2000, ed#2/ I 5, gsp, signed in pencil on back of print, 161/ 2 x 11", $300/600.

22. Tremblay, Guy, Maxime, 2003, ed#2/I 0, selenium toned gsp, signed in pencil on back of print, 18xl4",$300/600.

23. Cavanaugh, Philip, Dori ColumnsPaestum,2004, gsp, signed in pencil on back of print, 14'/2xl0", $200/400.

24. Scherman, Rowland, Bob Dylan in Newport, 1962,gsp, signed in pencil on front of print, I 6x I I", $400/600

25. Saville, Lynn, Musee Entree, 2002, ed#6/25, C-print, signed in pen on back of print, 22xl 41//, $750/1500. CourtesyYancey RichardsonGallery,NYC.

26. Hall, David, Leafy Sea Dragon,South Australia, 1997, Epson pigment print, signed in pen on front of print, 22x 151/2", $400/600.

27. Kallina, Jean, Gilbert + George,London I 985, 1990,gsp, signed in pencil on back of print, 15'/4 xl91//,$500/I000.

28. Munkacsi, Martin, Nude with Parasol, Harper's Bazaar, 1935, 2003,AP#l,gsp, signed by Joan Munkacsi with estate stamp, title, and dates on back of print, 8¼x 12'/4",$900/1200. CourtesyJoan Munkacsi,Woodstock,NY & Howard GreenbergGallery,NYC.

29. Nuseibeh, Sa"id,Writing on the Wall: Adonis,2004, gsp, signed in pencil on front of print & stamped on back of print, 9'/2x 11", $300/600.

30. O'Sullivan, Stuart, Untitled (from How BeautifulThis PlaceCan Be), 2004, ed# 1/8, Fuji Crystal Archive print, signed in pen on back of print, I 4x 18", $600/800. CourtesyRicco/MarescaGallery,NYC.

31. Cianni, Vincent, Sunday School, Williamsburg,Brooklyn, 1998,AP,gsp, signed in pencil on back of print, 71/2x9", $200/400.

32. Lippman, Marcia, Vientiane,Laos, I 997, 1997, ed#6/25, toned gsp, signed in pen on back of print, I I 1/2x 17", $600/800.

33. Goodman, Howard, Crosby'sBarn, Altona, NY,2003, gsp, signed in pencil on back of print, 9¼x7¼", $400/800.

34. Zoghlin, Ryan, Cartwheel,2000, ed#4/I 0, gsp, signed in pen on front of print, 5 '/4x6¼", $300/600.

35. Nimetz, Gloria, Eden,2002, digital print, signed in pencil on back of print, I 0 1/2x8", $200/400.

36. Hutchinson,Ambler, Untitled, 2000, mixed media digital collage, signed in pen on front of print, I 5x91/2", $300/600.

37. Thomas, Michael, GablesSeries No. I 8 Hot Dog Stand, 1998, ed#4/25, Iris print, embossed seal on back of print, I 4'/2x I ll/4",$800/ I 000. CourtesyRobert Klein Gallery,Boston,MA.

38. Tice, George, PlantingTobacco, Lancaster,PA I 962, 1996, gsp, signed in pencil on back and front of mount, 9½x71/2", $800/ 1200. CourtesyAriel Meyerowitz Gallery,NYC.

39. Morita, Eri, Untitled (from the Home

Drama series), 200 I, ed# I/ I 0, C-print, signed in pencil on label on back, 24x20", $600/800. Courtesy Daniel CooneyFineAr, NYC.

40. Varnedoe, Juliet, Michelle Holding Apples,San Francisco,CA I 995, 2004, gsp, signed in pen on back of print, I 5x 15", $250/500.

41. Johansen, Laura, Magicbitter,2003, ed#2/ I 5, C-print, signed in pencil on back of print, 24x 161/2", $900/1200.

42. Thomas, Gwenn, Untitled (Splitting 3, 2002), 2003,AP, C-print, signed in pen on front of print, 21x 171/4",$600/800.

43. Brennan, Joann, Brown Kreeper,Rio Grande Bird Research,Capilla Park,Manzao Mountains,New Mexico, 2003, C-print, signed in pen on front of print, 23x I 8¼", $500/700.

44. Opalenik, Elizabeth, Stephanie Reflecting,200 I, gsp, signed in pencil on front of print, 6x7 I/ 2", $300/500.

45. Hawkes, Pamela Ellis, Drawn + Quartered,200 I, ed#6/25, gsp, signed in pencil on back of print, 14'/2xl8½", $600/800.

46. Doherty, Dornith, Wipe Ou, 1999, ed#7/25, C-print, signed in pen on back of print, 13¼x 17", $300/600. CourtesyGerald PetersGallery,Dallas,TX.

47. Raymond, Lilo, Untitled, 1995, gsp, signed in pencil on front of print, I 2'/2x 19", $900/1200. CourtesyJohn StevensonGallery,NYC.

48. Witkin, Christian, StephenPetronia Dance Company,2002, gsp, signed in pencil on back of print, I 6x20", $1200/ I 500.

CourtesyTheArt Department NYC.

49. Potash, Fawn, Branches,2004, gsp w/ encaustic + oil, signed in pencil on back of mount, I 6x20", $750/ 1500.

50. Kuo, Nina, VietnameseFamily,Queens, NY, 1982, gsp, signed in pen on back of print, 5x7½", $150/300.

5 I Nash, A. Leo, ShellyHadesVaca Mirrorage, 2004, ed# I /25, Giclee, signed in pencil on front and back of print, 71/2xl8", $500/1000.

52. Garbarino, Edward,Je Ne Sais Quoi, 2002, ed#2/50, gsp, signed in pencil on back of print, I 3x 13", $300/500.

53. Milstein, Jeffrey, AirbusA-340, 2004, AP, pigment inkjet, signed in pencil on back of print, 20x20", $400/600.

54. Parisi, Mary, Red Room, 2004, C-print, signed in pen on back of print, I 9x 19", $300/500.

55. Roy, Norman Jean, Untitled (Trinidad, Cuba, 1999), 2004,AP, gsp, signed in pencil on back of print, I4x 14", $1250/ I 500. CourtesyThe Art Departmen, NYC.

56. Winiker, Barry M., Queen Mary 2, NY,2004, gsp, signed in pencil on back of print. 9x9", $200/400. CourtesyEillene

Leistner,Teaneck,NJ.

57. Fink, Larry, 3/04, Gleason'sGym, NY, NY, 2004, ed# I /25, gsp, signed in pencil on back of print, I4!/ 2xl 45/s".$ I 000/1500.

58. Perrino, Barbara, Untitled (still life with pottery). 1998, platinum/palladium, signed in pencil on back of print, 3½x3½", $250/500.

59. Lindbloom, Eric, Yucca,JoshuaTree, 2004, gsp, signed in pencil on back of print, I Ol/2x I QI/,", $400/600. Courtesy Howard GreenbergGallery,NYC.

60. Fitzsimmons, Joan, Cakes (from the series), 2004, gsp, signed on back of print, 5ll.,x531.,",$200/400.

61. Edelman, Richard, DangerousDogs, NYC, 2003, 2004,AP#4, pigmented ink on paper, signed in pencil on back of print,

42x64!/ 2", $500/800.

62. Lewis, Lawrence, Untitled, 2004, gsp, signed in pencil on back of print, Bx IO", $400/600.

63. Kambli, Priya, Liberty,2000, Lambda print, signed in pen on front of print, 9!/2xl4", $150/300.

64. Cramer, Konrad, Workday,c. 1930, vintage, unique, gsp, signed in pencil on back of print by Aileen Cramer, Bx IO", $ I 000/2000. Courtesydonor Aileen Cramer, Woodstock,NY.

65. Robinson, Lisa M., Old Saul,2004, Cprint, signed in pen on back of print, I331.,x17", $400/600.

66. Maxwell, Robert, Shakara,2002, Cprint, signed in pencil on back of print, I431.,x18'/2",$1200/1500. CourtesyThe Art

Departmen, NYC.

67. Tan, Noelle, Untitled #8, 2001-2002, ed#3/I 0, gsp, signed in pencil on back of print, 20x24", $400/600.

68. Torgovnick, Jonathan, Untitled, 200 I, ed#3/25, C-print, signed in pen on back of print, I2'1,x 19", $600/1000. Courtesy Klotz/Sirmon Gallery,NYC.

69. Ogust, Dion, Oak Tree,2003, gsp, signed in pencil on back of print, 9x9", $250/500.

70. Rosenthal, Ken, Seen& Not Seen #869-3, 200 I, ed#7/25, split-toned gsp, signed in pencil on back of print, 143,1.x I 4l/4", $400/800.

71. Delaney, Janet, Untitled #2 9 (pomegranate from the series Home Fires),2000, ed# I/ I 0, C-print, signed in pencil on back of print, I Ix I I", $400/600.

72. Littwin, Kathi, NeighborhoodKids, Baio Mare, Romania, 1995, gsp, signed in pencil on back of print, I 0'/2x I 0'/2", $300/600.

73. Johanson, Sandra, George'sCollar, 2004, ed#I /I 0, gsp, signed in pencil on

front of print, 8¼x8¼", $400/600. CourtesySarahMorthland Gallery,NYC.

74. Wagner, Bob, Berlin,Germany,2000, ed#3/ 12, selenium-toned gsp, signed in pencil on back of print, I Ox IO", $400/600.

75. Elrick, Krista, Power,200 I, ed#4/25, gsp, signed in pen on front of print, I 3x 13", $500/700.

76. Mitsch, Doris, Darkness,2002, ed#4/ I 5, archival inks on rag paper, signed in pencil on back of, print, I 4x 14", $250/500.

77. Squillante, Joseph, View South from Anthony'sNose (from The Hudson River Portfolio),2003, Kodak Endura/Lambda print, signed in pen on front and back of print, I 2x 12", $300/600.

78. Barker, Joan, Puerto Rican Day Parade,

NYC, 1986, gsp, signed in pencil on back of print, I I 11,x 1711,", $250/500.

79. Chernewski,Anita, ConeyIsland Sea Shore, I 989, ed#4/20, gsp, signed in pencil on back of print, 3x4¼", $200/400.

80. Kalman,Jordanna, Rose,2002, ed#3/3, C-print, signed in pencil on back of print, I Ox 13", $200/400.

81. Marc, Stephen, MA 54thTroops Marching from an UndergroundRailroad Highway,2003,AP, archival pigment inkjet, signed in pen on back of print, 9x26", $600/800.

82. Callwood, Dennis Olanzo, La Quinceaneva#I, 1982,gsp, signed in pen on back of print, 8x 12", $800/ 1500.

83. Edwards, Beth Yarnelle, Ar, age 72, and Carol,age 72, 1998, ed#4/25, C-print,

signed in pencil on front of mount, I 4x 18", $800/ I 000. CourtesyRobert Klein Gallery,Boston,MA.

84. Callahan, Harry, Untitled, from a Rhode Island School of Design Print Portfolio, 1973-74, gsp, signed in pencil on front of mount, 4J,~x7",$1000/ I 500. CourtesydonorAlma Davenpor,Jamestown, RI.

85. Barber, Craig J., Serenity,1998, ed#7/25, platinum/palladium, signed in pencil on back of print, 5x 14", $600/800.

86. Citret, Mark, Iron Choir,Fallen Blossoms,Santo Fe,200 I, ed#5/45, gsp, signed in pencil on front of print, 5x4'/4", $400/800. CourtesyHoward Greenberg Gallery,NYC.

87. Munkacsi, Martin, Summer Comp Near Bod-Kissingen,Germany, I 929, 200 I, AP,gsp, signed by Joan Munkacsi with estate stamp, title, and dates on back of print, 113/,x9'/4",$900/1200. CourtesyJoan Munkocsi,Woodstock,NY & Howard GreenbergGallery,NYC.

88. Isis, Moulin Rouge,2002, ed# I /25, gsp, signed in pencil on back of print, 12x93/4", $300/600.

89. White, Minor, Untitled, (from The Center for PhotographicStudiesPortfolio of 18 images), 1972, gsp, stamped on back of

mount, 73/,x6'/4", $1000/1500. Courtesy donor Alma Dovenport,jomestown,RI.

90. Gruen, Bob,John Lennon,Statue of Liberty, I 974, 1998, gsp, signed in pen on front of print, 12x8'/i", $600/ 1200.

91 Welch, Matthew, New OrleansTrees, 2004,AP, Giclee, signed in pencil on back of print, 9x73/4",$500/1000.

92. Hobson, Mary Daniel, Mythology, 200 I, ed#4/5, Kodalith and mixed media collage, signed in pencil on back of print, I Ox8", framed, $800/ I 000.

93. Menconeri, Kate, Untitled (Milan), 2004, ed# I /25, gsp, signed in pen on back of print, 9x7", $250/500.

94. Speers, Vee, Untitled #9 (from the series Bordello),200 I ,AP, Fresson charcoal, signed in pencil on back of print,

I 41/2x93/4",$500/700.

95. Graham, David, StanislausCounty,CA, 2004, C-print, signed in pen on back of print, I 0'/2x I 0'/2", $500/800. Courtesy Ricco/MorescoGallery,NYC.

96. Sweeney, Marla, Locker Room,200 I, Fuji Crystal Archive, signed on back of print, I 8x 18", $500/800. CourtesyYossiMilo Gallery,NYC.

97. Romer, Dorian, Untitled (Fire Island sunrise on bay w/pier on right}, 2004, Cprint, signed in pen on back of print, I 71/1x 171/2", $500/800.

98. Piperno, Lauren, Iceland, 1997, ed#2/ I 0, C-print, signed in pen on back of print, 1711:,x17'/2",$600/800.

99. Nelken, Dan, Lost and Found,2002, ed#3/25, C-print, signed on front of print,

I 5xl 5", $800/1000.

I 00. Armstrong, Bill, Untitled #450, 2003, ed# I/ I 0, C-print, signed on back of print, I Ox IO", $400/600.

IO I. Day, Catherine, Storybook Land: There was on Old Woman Who Lived in a Shoe,2000, ed#5/25, gsp, signed in pencil on back of print, I 81/2x 19", $500/800.

I 02. White, Shoshannah, Skeleton Hand, 200 I, ed#2/5, C-print, signed in pencil on front of mount, 25x25", $750/1000.

I 03. Cramer Aileen B., Milles, Sculpture Garden,Malmo, Sweden,1956, vintage, unique, gsp printed by Konrad Cramer, signed in pencil on back of print, I Ox8", $500/700.

104. Derges, Susan, Sycamore#I, 2000, AP of I 00, Iris print, signed in pencil on front of print, I 6'/2x 13", $800/ 1200. Courtesy Paul Kasmin Gallery,NYC.

I OS.Horenstein, Henry, Dolly Parton, 1972, ed#4/ 125, gsp + Honky-Tonk book and folio case, signed on back of print, I Ox8", $750/ I 000. Courtesy Sarah Morthland Gallery,NYC.

I 06. Lot of 3/ Van Leewan, Jan, The Last Supper,(triptych), 1997, kallitypes, signed on back of prints, each 19x I 5 '!.,", framed w/ den glass,$4500/5500. Anonymousdonor,courtesy SarahMorthland Gallery,NYC.

I 07. Ling, Elaine, Ancient Observatory,Jai PrakashYantra,Rajasthan,2003, ed# 4/28, gsp, 24x20", $750/1000.

I 08. Mazzeo, Michael, Goddess/, 2004, unique, wet-plate ruby ambrotype, signature etched in plate verso, 10x8", $500/1000.

I09. Marcuse, Tanya, CollapsibleBustle (from Undergarmentsand Armor), 20022003, platinum/pall~dium, signed in pencil on back of print, 41/2x3'/2", $500/1000.

110. Rinnhofer,Angelika, Menschenkunde/ModernityVII,2002, Cprint, signed in pen on back of print, 9 I/ 2x7 31.,",$500/800.

111. Siegel,Alan, Untitled (figure), 200 I, AP, gsp, signed in pencil on back of print, I 3 I1.,x731.,",$300/600.

I 12. Gallacher, Jason, Untitled, 2004, hand manipulated Polaroid original archival pigment print, signed in pencil on back of print, 23x23", $600/800. Courtesy Ricco/MarescaGallery,NYC.

I 13. Cratsley, Bruce, Billy'sRoses& Lilies, 1992, gsp, signed in pencil on back of mount, 91/2x91//, $750/850. Courtesy Sarah Morthland Gallery,NYC.

I 14. Maisel, David, TerminalMirage #221-4, 2004, C-print, signed in pen on back of print, I Ox IO", $600/800. Courtesy Von Lintel Gallery,NYC and James Nicholson Gallery,San Francisco,CA.

I 15. Chen, Howard Henry, Ha Tien, Vietnam 2002, 2004, C-print, signed in pencil on back of print, I Ox IO", $400/600.

I 16. Fuller, Anthony, Untitled (from the Dangling series), 2004, ed# I/ I 0, C-print, signed in pen on back of print, I 9'/2x 19'/2",$ I 000/1500. Courtesy Peter Hay Halpert FineArts, NYC.

I 17. Kenna, Michael, TwelveHours Over Sea of Okhotsk,Hokkaido,Japan,2004, 2004, ed #4/45, gsp, signed in pencil on front of mount, 71/2x8", $ I 000/2000.

I 18. Sharpe, P. Elaine, Grandfather's House-Key,200 I, C-print, signed in pen on back of print, 1831.,x19", $500/ I 000.

119. York, Torrance, TelephonePole I PleasantValley,NY /0/2710/ (from the series FunctionalGround), 2004, ed# I/ I 0, C-print, signed in pen on front of print, I 8'/4x 18'/4",$400/800.

Her heel caught on the carpet, but keeping her head held high, she continued on her way.

I 20. Parks, Gordon, Muhammed Ali, 1970, gsp, signed in pencil on back of print, I 03/4x83/4",$2500/3500. Courtesy Howard GreenbergGallery,NYC.

121. Fellman, Sandi, Flower #3, 1995, split sepia-toned gsp, signed in pencil on back of print, 5x4", $800/1200.

122. Uelsmann, Jerry N., Untitled (hands holding water), 2003, gsp, signed on back of print, I 3x IO", $1200/ 1800.

123. Nilsson, Morten, 03 Dancers, 2004, Ektacolor, signed in pen on back of print, 8'/4x7", $400/800. Courtesy CfampArt, NYC.

124. Sherman, Cindy, Nipple With Diamond (from House Without Waifs portfolio), 1990, ed#58/IOO, C-print, signed, dated, and numbered in pen on back of print, I 23/4x81/2", $2000/3000. Courtesy donor Howard GreenbergGallery, NYC.

125. Flynt, Robert, Untitled (tin portrait), 2004,AP of 5, C-print, signed in pen on back of print, 23x 19", $600/900. Courtesy CfompArt, NYC.

126. Laval, Karine, Swimming #3, Barcelona,Spain,2002, ed#6/ I 5, C-print, signed in pen on back of print, I 9½x 1911,",$800/ 1200. Courtesy Bonni Benrubi Gallery,NYC.

127. Slota, Gerald,Jack and Jiff, 2004, gsp, signed in pencil on back of print, 20x 16", $ I 000/ 1500. Courtesy Ricco/Maresco Gallery,NYC.

128. Morrison, Stacy, Figure in Green Dress with Floral Bodice,2004, ed#2/ I 0, Cprint, signed in pen on back of print, 23x 19", $500/1000.

129. Ruben, Ernestine, Andrea and Rocks,200 I, ed#2/35, platinum/palladium, signed in pencil on front of print, 111/4x 161/,",$1000/2500. Courtesyjohn StevensonGallery,NYC.

130. Martone, Michael, Rome, Italy, Bus and Mannequin Shadow, 1969/1999, unique, gsp, signed in pencil on back of print, I Ix 13'/2", $2000/3000. Courtesy Ricco/MarescaGallery,NYC.

I 3 I. Mallo, Luis, In Camera 2001-02 no. 8, 2004, C-print, signed in pen on back of print, 7'1,x9'/2", $600/1000. Courtesy Ricco/MarescaGallery,NYC.

132. Gianettino, Larry, Gorilla Monster, 1997, Cibachrome,AP of I 0, signed on back of print, I Ix 14", $ I 000/1500. Courtesy Ricco Maresca Gallery,NYC.

133. Laub, Gillian,Jamie Practicingfor the Family,2002, ed# 2/ I 0, C-print, signed in pen on back of print, I 6x20", $750/1500. Courtesy Bonni Benrubi Gallery,NYC.

134. Evans, Susan E., #718 (Her Heel Caught ), 2000, unique, gsp, signed in pen on back of print, 8x IO", $400/800. Courtesy RiccoMaresca Gallery,NYC.

135. Wides, Susan, Tree Farm (from the series Mobile Views# 12), 2000, C-print, signed in pen on print, I 9x231/2", $ I 000/ 1600. Courtesy Kim Foster Gallery, NYC.

136. Sharifi, Soody, Stairway to Heaven, 2004, ed#2/ I 0, archival inkjet, signed in pencil on mat, I 53/4x211/2", $500/700.

137. White, Clarence & Stieglitz, Alfred, Miss Mabel C, 1909, CW 27:37, Camera Work Gravure, 8'1,x6'/a", $400/600.

138. Steichen, Eduard, In Memoriam, 1906, CW SS:19, Camera Work Gravure, 81/4x6¼", $2000/3000.

139. Steichen, Eduard, Lilac Buds- Mrs. S., 1906, CW 14:9, Camera Work Gravure, 8x6", $800/ I 000.

140. Klein, William, Boy & Girl & Swing, New York, I 955, printed later, gsp, signed, titled, and dated in pencil on back of print, I Sl/4x I I ¼", $ I 500/2000.

141. Evans, Walker, Blacksmith'sShop, NYC, I 933, 1970, gsp, Evans' stamp with annotations in pencil on back of print,

I 0x8", $3000/4000.

142. Faurer, Louis, Twins,I 948, 1980, gsp, signed, titled, dated in pencil on back of print, 14xl I", $2500/3500.

143. Cartier-Bresson, Henri, Mexico, I 934, printed later, gsp, signed in pen on front of print and embossed with photographer's copyright stamp, I 6x 12", $3000/4000.

144. White, Minor, Untitled (rock face), 1957, vintage, gsp, signed and dated in pencil on front of mount, 9'/4x5¼", $4000/5000.

145. Klein, William, Simone & Nina, Piazza di Spagna,Rome, I 960, printed later, gsp, signed, titled, and dated in pencil on back of print, I S¼x I I¼",$ I 500/2000.

146. Hine, Lewis, Untitled (child laborer),

c. 1910, vintage, gsp, 45lax61/1", $2000/3000.

147. Strauss, John Francis, The Bridge, 1903, CW 3:43, Camera Work Gravure, 6 1/4x8 1/a", $600/800.

148. Sudek, Josef, Untitled (from the Remembrancesseries), 1953, vintage, gsp, signed and inscribed in pencil to Jone, Prague I 958, on back of print, 51/8 x7", $1 000/5000.

149. Giacomelli, Mario, Lo Non Ho Mani Che Mi Accarezzino II Viso (priests dancing), 1960s, printed 2000, gsp, signed in pen on front of print, 4x5¼", $2500/3000.

150. Capa, Robert, SoldiersIn Truck, I 943, 1970s,gsp, photographer's stamp & Russian label on back of print, 9'1ax137/,", $2500/3500. 152 153 I 5 I . Steichen, Eduard, Moonlight,The Pond, 1906, CW 14: I I, Camera Work Gravure, 63lax8", $3000/4000.

I 52. Caponigro, Paul, Landscape, Kalamazoo,Michigan, I 970, printed later, gsp, signed in pencil on front of mount, 7'fix9',1,", $2000/5000.

I 53. Haas, Ernst, West Side Story, I 96 I, printed later, gsp, signature and photographer's stamp on back of print, I Ix 14", $2000/2500.

154. Struss, Karl, Cables- New York SkylineThrough Brooklyn Bridge (from Karl Struss-A Portfolio /9091/929), 1979, ed#56/75, platinum print, #ed in pencil on mount, 4V,x35fa",$2000/3000.

155. Penn, Irving, Woman w/Handkerchief Uean Patchett) NY I 951, 1984, gsp, signed, titled, dated on back of mount w/ photographers' stamp and copyright, 13'lax13'la",$I5,000/20,000.

156. Croner, Ted, Taxi,NY, Night, 1947-48, 2003, gsp, signed, titled, and dated in pencil and stamped on back of print, I Sl/4x 15", $1500/2000.

I 57. Leiter, Saul, Lanesville,I 958, 2004, Fuji Crystal Archive, titled and dated in pen on back of print, I4x I I", $1000/ 1500.

I 58. Weston, Edward, Nude, (from Six Nudes of Neil 1925 portfolio), printed in 1977 by Witkin Gallery. ed# 14/25, palladium print, signed and #ed on back by Neil Weston & George Tice, 3'/4x23J.,". $3000/4000.

I 59. Morgan, Barbara, Samadhi (Light Drawing) 1940, c. 1980, gsp, signed in pen on front of print, I 7 1/2x 13½", $600/1200.

160. Dugdale, John, Moon Just Tingedwith Blue, Stone Ridge,NY,2000, ed#S/ 12, Cyanotype, signed in pen on back of mount, I 2'/4x9'/,", framed I731.,x15", $ I 500/2000. CourtesyJahn Stevenson Gallery,NYC, and C/ampArt,NYC.

161. Bernhard, Ruth, Aura of Light, 1962, gsp, signed in pencil on front and back of mount, I 3 1/2x8", $4000/8000.

162. Modica,Andrea, Umbria, 2003,

ed#3/20, platinum/palladium, signed in pencil on print, 9 1/4x7 1/2", $1000/2000. CourtesyEdwynn Houk Gallery,NYC.

163. Mark, Mary Ellen, Central Park,NY, /967, 2003, ed#l5/75,gsp. signed in pencil on back of print, 8V,x 13", $2000/3000.

164. Hosoe, Eikoh, Simon:A Private LandscapeI By the Arakawa River near Yotsugi,Tokyo,I 971, printed later, gsp, signed in pencil on back of print, I4xl73J.,", $2000/2500. CourtesyHoward GreenbergGallery,NYC.

165. Landy, Elliott, Bob Dylan,Woodstock, NY 1968, 2002, C-print, signed in pen on front of print, 931.,x14", $750/ I S00.

166. Kurland, Justine, /-20, California, 2000, ed# I /I 5, C-print, signed in pen on back of print, I231.,x19", $1000/ 1500. CourtesyGorney Bravin,& Lee Gallery,NYC.

167. Fischl, Eric, Untitled (from Hause Without Walls portfolio), I 990, Chromogenic print, signed and dated in pen on back of print, 81/2 x 121/2", $ I 000/2000. Courtesy donor Howard GreenbergGallery,NYC.

168. Carucci, Elinor, Eran Needs to be Waken Up, 200 I, C-print, signed in pen on back of print, 9x I 3 '/2". $ I 000/1 500. CourtesyRicca/MarescaGallery,NYC.

169. Annan, J. Craig, The Dark Mountains, 1904, CW 8: I 5, Camera Work Gravure, 55fax7%",$200/300.

170. Gibson, Ralph, Untitled (music stand), I973,AP, gsp, signed in pencil on back of print, 8x 12'/4", $ I 500/3000. CourtesyHoward GreenbergGallery,NYC.

171. Flomen, Michael, Firefly (from Higher Ground),2000,AP, gsp, signed with artist's stamp on back of print, 7x5", $ I 000/ 1250. CourtesyRicco/Maresca Gallery,NYC.

172. Metzner, Sheila,Josie, Solarized I 989, 1989, gsp, embossed seal on front of print, I 3'/ 2x81/2", $1000/1200.

173. Fuss,Adam, Untitled (from the series My Ghost), 1999,AP, photogravure, signed in pencil on back of print, 81/2x6'/4" $1 000/ 1500. CourtesyCheim & Read,NYC.

174. Trager, Philip, Michyo Tanaka,1988, AP, gsp, signed in pencil on back of print, I 65/ax123/a",$500/800.

175. Koo, Bohnchang, Untitled (ceiling in arcade), 2004, gsp, signed in pencil on back of print, I 4x I I",$ I 000/1500. CourtesyRicco/MarescaGallery,NYC.

176. Raymond, Lilo, Bed,Roxbury,1972, vintage, gsp, signed in pencil on front of print, I 8¾xl 2¾", $ I 000/2000. Courtesy john StevensonGallery,NYC.

177.Kramer, Daniel, Bob Dylan 1965 (from Biographalbum cover), 2002, gsp, signed in pencil on back of print, 18¾x 15", $1000/ I 500.

178. Vishniac, Roman, Middle Class Courtyard, I 935, printed later, gsp, signed in pencil and estate stamped on back of print, I 0 1/2x I 0'/2", $3000/4000. Courtesy Mara VishniacKohn,CA & Howard GreenbergGallery,NYC.

179. Sacabo, Josephine, The Dreamer, 2003, ed#7/30, gsp, signed in pencil on back of print, I 3 1/2x IO¾", $1 000/1 500. Courtesyjohn StevensonGallery,NYC.

180. Sanguinetti, Alessandra, Causa/ito (from the series TheAdventuresof Gui/le and Belindaand the EnigmaticMeaning of Their Dreams),2004, pigmented inkjet print, signed on back in pencil, 20x20", $ I 000/ I 500. CourtesyYossiMilo Gallery, NYC.

181. Fee,James, Missouri Moon, 2003,AP, C-print, signed in pen on front of print, 30x30", $ I 000/2000. CourtesyYancey RichardsonGallery,NYC.

182. Carter, Keith, BrokenLeg, I 998, ed#23/50, gsp, signed in pen on back of print, I 4 1 / 2xl4'/2", $750/1500. Courtesy Howard GreenbergGallery,NYC.

183. Anderson, Dave, Dark Road (from the series RoadsideGhosts),2004, gsp, I Ox IO", $600/800. CourtesyYossiMilo Gallery,NYC.

184. Finke, Brian, Untitled (Cheerleading #95), 200 I, Cibachrome, signed in pen on back of print, 91/2x9'/2", $500/900. Courtesy ClampAr~NYC.

185. Shirobayashi, Kiriko, Glare (collected moments), 1999, C-print, signed in pen on back of print, 20x20", $600/800.

186. Horn, Rolfe, Wedded Rocks,StudyZ, lse Bay.Japan,2004, 2004, ed# 12/45, gsp, signed in pencil on front of mount, I 07fsxIO 'la",$600/800. CourtesyCandace PerichGallery,Katonah,NY.

187. Porter, Liliana, J ofThem, 2003, ed# I /5, archival digital print, signed in pen on front of print, 3 1 / 2x3 1/2", $250/500.

188. Nix, Lori, Sa/vazana,2002, ed# I/ 15, C-print, signed in pencil on back of mount, I 9x 1431.,",$400/800. CourtesyAlon, Kagan Gallery,NYC.

189. Ess, Barbara, Iron Hand of Love (woman w/ hand on child's shoulder), 1985, ed#3/S, C-print, 40x30", framed, $1 000/3000.

190. Kessell, Mark, Amaryllis I (# 1309), 2004, ed# 1/20, pigment print on acid-free cotton rag paper, signed in pencil on print, 24x20", framed, $800/ 1200. Courtesy Ricco/MarescaGallery,NYC.

191. Platon, PresidentWilliam Jefferson Clinton,2000, digital C-print, signed in pen on back of print, I 2'/2x IO", $1250/1500. Courtesy The Art Departmen, NYC.

192. Cray, Fred, Untitled Sel(-Portrai, 1998, ed#4/S, C-print, signed in pencil on back of mount, I 9 1/2x I 5 1 / 2", framed, $ I 000/ I 500. CourtesyJanet Borden Inc, NYC.

193. Frank, Jona, Cory Carrie,Women's Issues,CA. 2000, 2003, ed# I /12, C-print, signed in pen on mount, 24x20", $700/1200. Courtesy Michael FoleyGallery,NYC.

194. Gruen, Bob,Johnny Thundersand David Johansen- Hollywood - 1973, 2004, gsp, signed in pen on front of print, I 2x81//, $600/ I 000.

195. Stipe, Michael, The Potato of Willendorf, 2004, C-print, signed in pen on back of print, I Ox8", $300/600.

196. McCann, Robert, Curtain, 1996,AP, gsp, signed in pencil on back of print, 24x20", $600/ I 000. CourtesyYossiMilo

Gallery,NYC.

197. Ketchum, Robert Glenn, Maltwater Flowing over Golden Sand & Sil, Baas,Bu/fir Island, 1994, ed# 16/33, Cibachrome, signed in pen on back of print and front of mount, I Ox 13", framed, $600/1000.

198. Lehmacher, Tim, Untitled, 200 I ,AP, C-print, signature on label on back, I 6x20", $600/800. Courtesy Daniel Cooney FineAr, NYC.

199. Davidson, Bruce, Lone Figure WalkingAlong the Pond,Central Park, I 992, ed# I 0/100, Iris, signed in pencil on front of print, I 41/2x35", $500/750. Courtesy Howard Greenberg Gallery,NYC.

200. Kerekes, Gabor, Ange/,n.d., ed#2/ I 0, silver bromide print, signed in pencil on back of print, SxS'/2",framed

widen glass, $1000/ 1200. Anonymousdonor, courtesy Sarah Morthland Gallery,NYC.

20 I. Chalmers, Catherine, Nursing (from Pinkies 1995-1997), 1999,AP, Cprint, signed in pencil on back of mount/mat, I 6x24",$800/ 1200.

202. lzu, Kenro, Angkor #7 I, Ta Prahm, Cambodia, 1994, platinum/palladium, signed in pencil on back of print, I 3x 19", $ I 000/ I 500. CourtesyHoward Greenberg Gallery,NYC.

203. Levinthal, David, Untitled, 2002, ed#2/500, C-print, signed in pen on back of print, I 3 '/2x 13Va",$500/ I 000.

204. Hannigan, William, Cudahy,CA, 2003, C-print, I 6x20",AP#I, signed in pen on back of print, $750/ 1500.

205. Solyagua, Camille, Red Crowned Cranes#5, Hokkoido,Japan. 2002, toned gsp, 4 x 2 1/2", signed on back of print, $600/800.

206. McCormack, Dan, Tracey I 0-03-02 - ZAB, 2002, ed#3/25, Ultrachrome print, signed in pen on front of print, 14'/,xlO", $200/400.

207. Tiscornia,Ana, Untitled (landscape), 2003, ed#2/I 0, archival digital print, signed in pen on back of print, 9x6", $250/500.

208. Keasler, Misty, Blue Stalls and Toilet (from the Orphanage series), 2002, ed# I /5, C-print, signed on front of print, 18'/2x181/2", $800/1000. Courtesy PhotographsDo Not Bend Gallery,Dallas,TX.

209. Shapiro, Carla, Untitled, 2003,AP,

C-print, signed in pencil on back of print, ( 9l/4x ( 93//, $600/800.

210. Johan, Simen, Untitled #85, 2000, C-print, ed# 13/25, signed in pen on front of print, 7x7", $600/800. CourtesyYossiMilo Gallery,NYC.

21 I. Porto, James, The /cef,eld,2004, archival inkjet, signed in pencil on front of print, I 3¼x I I", $300/600.

212. Goldbeck, Eugene Omar, Red Square and the Kremlin,Moscow,Russia I 967, printed mid 1970s,gsp, signature stamp on verso, I Ox60", $1200/ 1500. CourtesyThomasV.Meyer FineArt, San Francisco,CA.

213. Whilden, Jojo, Car 6, 1997,AP, C-print, signed in pencil on back of print, I Ox 13", $800/ 1000. CourtesyClampArt, NYC.

214. Cartier, F&D, Puzzle C, 200 I, ed# I /I 0, gsp, I 6x20", signed in pencil on back of print, $800/ I 000. CourtesyYossi Milo Gallery,NYC.

215. Davison, George, Harlech Castle, 1909, CW 26:31, Camera Work Gravure, 6!fax8", $300/400.

216. McCurry, Steve, Children with Flowers,1996, C-print, signed in pen on back of print, I 6x20", $1500/2000.

CourtesyTheArt Department, NYC.

217. Burkholder, Jill Skupin, Lights at

Terezin,2002, ed#2/25, Bromoil, signed in pencil on back of print, 6x8", $400/600.

218. Greenberg, Paul, Man in Black Coat, NYC, 2000, gsp, signed in pencil on back of print, 7'/4x 171/2", $600/800. CourtesyPhotographsDo Not Bend Gallery,

Dallas,TX.

219. Custodio, John, CampobelloIsland #2, New Brunswick,Canada,2002, ed#2/50, carbon pigment inkjet, signed in pencil on back of print and front of mat, 7 11.,x18", $300/600.

220. Fee, James, Liquid Sky,Peleliu,South Pacific,200 I, ed#4/ I 5, C-print, signed in pen on front of print, 30x30", $ I 000/2000. CourtesyYanceyRichardson Gallery,NYC.

Sizes reflect measurement of image. The prices following descriptions of the photographs indicate the range the print may sell for at a benefit auction and may not necessarily indicate commercial retail prices.

john· Dugdale,Spectacle,Morton Street.Manhattan, 1999,cyanotype,courtesyJohn StevensonGallery,NYC & C/ampArt.NYC

AN ARTISTAT HOME a visit with John Dugdale

SARAHMORTHLAND

0n August I, I interviewed John Dugdale at his farm in Stone Ridge, New York. The evening before, John had been presented with CPW's first Vision Award in acknowledgment of his important contributions in the field of photography. I had hoped to interview John before the award ceremony at the Center's office, which was equipped with a tape recorder. A sudden downpour delayed the interview until the next day and John and I agreed that it would be wonderful for me to see his house, which he loves and where so many of his photographs have been created.The day was gorgeous and the directions were easy:at the farm stand take a left, then a right, and when I see two tips of a rooftop peaking over a field of corn, I will have found John's home.

Several barns, a 19th century clapboard house, a wide front porch, and John's sister, Kathleen, greet me. Kathleen has often appeared in John's photographs, as have his mother and brother. Kathleen had come to visit for the award ceremony and was on her way back to their mother's home in Connecticut. John was downstairs, in the summer kitchen. Manly,John's guide dog, accompanied me on the narrow stairs with great enthusiasm - I'm not sure if he was in a race to get to John first to tell him about the visitor, or if his big, friendly head was bumping into my knees to keep me on course.

The summer kitchen is partially built into the earth to keep it cool. Light filters in, a large, old sink rests comfortably next to an enormous, professional looking stove, and a door leads out to the garden. Recently, in another room, John had taken down a wall and uncovered a large fireplace that would have been used originally for cooking. As part of the ongoing renovation of the house, the

walls had just been re-plastered and freshly whitewashed.We take a tour of the house first so that I can sense more about the things that are meaningful to John. He retains the original size of the house and is reconstructing the original proportions of the rooms. His bedroom and bath are on the first floor, as well a sitting room, living room with his piano, and a small bedroom off to the side, which traditionally would have been called the field hand's room. I see many objects that I know well through John's pictures.

John talks about wide plank beaded boards, some found in the house beneath wallpaper, others salvaged from old structures, and the ones lining the stairs recen ly made for the renovation. A box of old hardware is scattered on the floor of one of the rooms upstairs. A window has been placed in the wall over the stairwell to allow more light. John explains that one of the rooms will become a permanent studio. He has just bought an old table with a swivel mechanism on which to set his still lifes. He will then be able to adjust the level of the camera at equal height with arrangements that he plans to photograph in the style of Dutch still-lifes. Like Morandi, he envisions taking a dozen objects and rearranging them every day.

The restoration has been a work in progress for twenty years.As the house has no particular history, John is allowing it to unfold, making it up as he goes along. Sometimes inspiration comes from a found object a wooden acorn discarded in the barn now adorns the porch with ones John had carved to match it. One of the out buildings houses John's beehives, which he tends. Another barn looks in need of care but John explains that he has had the back of it repaired first because if he had started with the front, which

is visible from the house, he never would have gotten around to the other side.

We sit down to chat at the dining room table off the kitchen. As promised, John has made iced tea. Manly stays close, occasionally licking my ankles with a velvety tongue. John has a secret name for the dog when they are working together out in the world, but for this afternoon he is a dog that lives on a farm on a summer's day, sleepy and delighted to have company. Mmmmm, delicious.

I cannot begin to capture the words that pour forth from John. Shall I describe him? He is very tall and remarkably handsome, his skin nut brown from working outside on his house and in his garden. In a crowd, he stands very still. In particular, one notices the stillness of his head. He is listening, his senses heightened ..At his gallery openings, he finds that people approach him by touching his shoulder. For John,this is like a battery charger, an exchange of energy that gives him a swirling feeling. I observed an older man at last night's awards ceremony standing nearby,hovering just a little, watchful of John. I tell this to John and he determines that it was his father.

Born in Connecticut in 1960,John attended the School of Visual Arts. For many years he was a highly successful commercial photographer. Close to twenty years ago, he was diagnosed as H.I.V.positive. He has since completely lost the sight in one eye and retains about 20% of his sight in the other. A dozen years ago, his

retina was bonded with silicon oil, which has subsequently been found to be toxic. This will need to be removed soon. There is a chance that if the retina can reattach itself.John will be able to perceive light and dark.There is a possibility, however, that by the end of this summer he will not be able to see. He states that ifhe could arrest his sight right now, he would be happy.

This past winter was rough. The cornea of his blind eye having developed an infection. He worried that blindness would be completely dark, like a blindfold. He usually does not allow his eyes to be touched, however a friend, a professional masseur,volunteered to massagethe area. It produced, for John,an extraordinary awareness of dimension. He now knows that blindness is full of depth, as if flying though space or the universe, tumbling without gravity, and that one can reach a hand through darkness and feel it. He refers to his vision as an eclipsing moon, a sparkling, glowing mass of color, a shade of bluish lavender,his own, personal constellation.

There is much John wishes to do, he is innervated and feels he is going to burst if he is without tasks. In addition to working on the house, he would like to memorize birdcalls so that he will know the sound of a thrush, or that of a finch. He has finished reading Dickens; he is now reading Ovid's translation of the Greek myths. He will no longer grow vegetables;instead his garden will be filled with flowers that are heavily fragrant, a special gift to friends whose vision has also undergone change. He considers self-publishing his next book and wants to make a movie.

John Dugdale,Spectacle,Posdude,1998,cyanotype, courtesyJohnStevensonGallery,NYC and ClampArt,NYC

John Dugdale,Spectacle,TheC/andesvneM,nd,LockwoodFarm,New York,1999,cyanatype, courtesyJohnStevensonGallery,NYC and ClampArt,NYC

Much of our discussion is about time. Earlier generations had a much different and perhaps far greater concept of time.Time was measured by the light of day: speed was measured by walking, or the gait of a horse. The average farm cart traveled at 6 miles per hour: With the advent of trains in the 1830s whizzing through space at the astounding rate of 35 mph, early travelers complained that the passing landscape was a blur:The successof 19th century photography relied on the stillness of its subject matter so that motion was stopped long enough to be recorded. The success of 20th century photography relies on the speed of the camera's shutter and film, and the swift perception of the photographer, to stop motion.

john's career as a commercial photographer was a step along the way to finding his true calling. His seminal moment in making the transition from the professional world to that of the artistic was the result of his discovery of time. One year he planted hundreds of daffodil bulbs. He set one in a vase and started to photograph it When a breeze blew by,the flower vibrated, the cloth billowed, the cup quivered, and John felt free. He tried to replicate this in his studio, with his assistantwildly waving a backdrop to simulate wind. He could not recreate the qualities of the day,nor of the light John sees this understanding in the photographs of Julia Margaret Cameron, a photographer who, in John's perception, was unafraid of eccentricity and whose images embrace the liquidity of breath and life. Through his own illness, and the recent illness of his

mother, he has further realized that life is always in an organic state of change.

John, known for his creative autobiographical series of cyanotypes, is anxious to make his next group of pictures using a different process. He intends to master the making of ferrotypes (also known as tintypes) with a wet plate collodion camera, Presented framed, the ferrotypes will be infused with the scent by lavender oil. Frequently asked how he photographs.John explains to me that he feels like the pictures already exist and that they must be coaxed out of thin air: He likes to imagine that it is magic. In john's presence, this is easily believable.

john will have two new exhibitions in Spring 2005 at john Stevenson Gallery and at ClampArt-both in NYC His book, Life's EveningHour, published by August Press Limited in the year 2000, is a revelation of beauty and spirit and provides an extraordinary insight into John's life and work. He is represented in NYC by the john Stevenson Gallery and ClampArt and by Robert Klein Gallery in Boston, Massachusetts.

-© Sarah Morthland, August 2004

Sarah Morthland is an appraiser and dealer of fine art photography in New York City and has been associated with CPW since its inception.

John Dugdale,Ung'nngNear the Rose,1998,cyanotype, courtesyJohn StevensonGallery,NYC and ClampArt NYC

John Dugdale,FromWomanTheMoon, 1998,cyanotype, courtesyJohnStevensonGallery,NYCand C/ampArtNYC

noted books

The Gender Frontier, photographs by Mariette Pathy Allen, with essays by Grady T.Turner, Riki Wilchins, Jameson Green, and Dr. Milton Diamond, Keher Veriag Heidelberg, Germany; 2003, hard cover, black & white and color photographs. Donated by the artist.

Male Bodies - A Photographic History of the Nude, edited by Emmanuel Cooper, Prestel, New York, NY; 2004, hard cover, black & white and color photographs.

Living Through the Forgotten War: Portrait of Korea, edited by Patrick Dowdy, with contributions by Bruce Cummings, John Kie-chiang Oh, and Wei Hsin Gui, Mansfield Freeman Center for East Asian Studies at Weslyan University and the Korea Society, Seattle,WA; 2004, soft cover, black & white photographs.

Photomicrographs, photographs by Claudia Fahrenkemper,Hatje Cantz, Germany; 2004, hard cover, black & white photographs. Donated by the artist.

Consuming the American Landscape, photographs by John Ganis, edited by Christiane Stahl, with text by Robert Sobieszek, George F. Thompson, and Dr. Stanley Diamond, Dewi Lewis Publishing, Stockport, UK; 2003, hard cover, color photographs. Donated by the artist.

Anne Arden McDonald - Installations and Self-Portraits, photographs by Anne Arden McDonald, with essays by Leslie Findlen and Wanda Strukus,Autonomy and Alchemy Press;2004, hard cover, black & white photographs. Donated by the artist.

Platon's Republic, photographs by Platon, Phaidon Press, New York, NY; 2004, hard cover, black & white and color photographs.

Bettina Rheims - Retrospective, photographs by Bettina Rheims, with essays by Serge Bramly, Jean-Christophe Ammann, Berndt Arel I,and Kim Levin, Schirmer/Mosel; 2004, soft cover, black & white and color photographs.

Wanna Take Me a Picture - Teaching Writing and Photography to Children, by Wendy Ewald with Alexandra Lightfoot, Center for Documentary Studies at Duke University, Durham, NC; 200 I, hard cover, black & white photographs.

exhibition catalogs:

Barbara Roux - Within the Land: Insights from the Permanent Collection of the Islip Art Museum; East Islip, NY

California Dreamin': Camera Clubs and the Pictorial Photography Tradition, Boston University Art Gallery, Boston, MA.

Face to Face - Portraits in Contemporary Photography, Oberosterreichisches Landesmuseum,Austria.

Gay Block - Bertha Alyce: Mother exPosed, University of New Mexico Press,Albuquerque, NM.

Luis Mallo - in camera, Ricco / Maresca Gallery, NYC.

Utopia I Post Utopia: Conceptual Photography and Video from Cuba, Samuel Dorsky Museum of Art, New Paltz,NY - editors, Liz Glynn and Mary Lake

One Cycle of My Journey I photographs by Abigail Cohen with commentary by Mary Ellen Mark, Craig Stevens, and Joyce Tenneson, published by Light Warriors Press,2002.

Abigail Cohen, a graduate of the University of Pennsylvaniaand the Savannah College of Art and Design, taught photography and founded Artbiz, an organization that provided financial assistance to artists. Her photographs of close friends and family are highlighted in the book, One Cycleof My Journey.

"I use images as a poet useswords or a musician uses notes. While one is beautiful on its own, it is enhanced by joining others," Cohen wrote. Abigail Cohen is best known for her panoramic strings of images that depict minutes of time rather than split seconds by merging images together and combining negatives. Her meaningful photographs are revealed in this skillfully printed book, where the images are paralleled with words and phrases from the artist, her friends and her relatives,creating an esthetically balanced presentation of a collection of work. Cohen uses available light and captures her subjects in natural, comfortable positions. Whether they are laying on a bed, sitting on a porch, or embraced in their mother's arms, the subjects are patiently waiting for something, appreciating the familiar company, space, and time. Her subjects represent universal themes of relations and boundaries. This is well represented in the photograph of a woman lying on the floor holding the hand of a friend. While the upper half of the friend's body is cropped, the woman's eyes are focused on her with a radiant intensity. The blurriness and luminescence surrounding the woman's face convey a somber mood. The patience necessary to view the images is evidence of Cohen's ability to be expressive.

This book was published after Abigail Cohen died from a heart attack due to a congenital heart defect at age 27. One Cycleof My Journeywas created in dedication to her work as a fine art photographer. The overwhelming feeling of the book is a calm stillness. The reader is slowed by the emotional impact of the dark, layered, out -of - focus images.In a conversation with Craig Stevens,a photography professor at the Savannah College of Art and Design, Mary Ellen Mark and Joyce Tenneson discuss the artist's philosophy,the challenges she struggled with and the style she developed. All three photographers had worked with Cohen, watched her grow, and realized her achievements as a young photographer. One Cycleof My Journeyis a memoriam and a tribute to a unique body of work representing timeless questions of love and mortality through transitory subjects.

- Mary Lake

Ah;gail Cohen

In Cuba, an island caught between the grandeur of old world glory and the decay of the immediate epoch, I found an urban landscape that refiects a struggle between daily life and the slow forces of nature.

I came to work on this portfolio through shouted invitationsto visit people's homes as I wandered down the streets carrying my 4 x 5 camera on a tripod. Each home lead to the neighboring home and each one-room casa holds stored-away treasures of gold trimmed porcelain, doll collections, photos of Che and Fidel when they were young men, and memorabilia of a widow of his wife.

Tangible new energy of reconstruction and restoration stages this country's rebirth. The abandoned pleasure gardens and the intimate interiors of homes are in the fiux of metamorphoses.

Drawn to both mythic and deserted places, Elaine Ling has photographed remote corners of the world including sand filled houses of a diamond mining ghost town in Nambia, the Atacama Desert in Chile, paleolithic rock engravings in the Atlas Mountains in Morocco, Anazasi pictograms and petroglyphs in the American Southwest, tombs of the emperors of four dynasties along the Spirit Roads of China, the ancient city of Petra in Jordan, and Persepolis in Iran. Ling has exhibited extensively in the United States as well as in Canada,Europe, and Mexico. Her photographs are in the permanent collections of the Museum of Fine Arts in Houston, the Henry Buhl Foundation in NYC, the Brooklyn Museum in NYC, and the Royal Ontario Museum in Toronto. Ms. Ling's work has been published in Aperture, View Camera, and Artweek.

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

© ElaineLing,Cuba #8, 2000/2002,gelatin silver print, 24x20".

CENTER FOR PHOTOGRAPHYAT WOODSTOCK 59 TIN-KER STREET WOODSTOCKNEW YORK 12498 address correction requested Non-ProfitOrg. U.S.Postage PAID WhitePlains.NY PermitNo.5432

ricco marescagallery

CONTEMPORARYPHOTOGRAPHY AT RICCO/MARESCAGALLERY: GwenAkin& AllanLudwig,JayneHinds Bidaut,DebbieFlemingCaffery, ElinorCarucci,LucDelahaye, MichaelFlomen,Larry Gianettino,DavidGraham, JosephHeidecker,Mark Kessell,BohnchangKoo, LuisMallo,Michael Martone,AmandaMeans, HansNeleman,Gerald Slota,NickiStager,Andrea Stern,AlexanderTsiaras, PauloVentura,AlexWebb, & Joel-PeterWitkin

Directorsof Photography: W.M. Hunt& SarahHasted-Mann

riccoImarescagallery

EveKnightingDaguerre,2003,tonedgelatinsilverprint