Photography Quarterly #93

·photograph

27th ANNUAL BENEFIT AUCTION

FINE CONTEMPORARY & HISTORIC PHOTOGRAPHS

TO SUPPORTTHE CENTER FOR PHOTOGRAPHY AT WOODSTOCK

LIVE SALE

Saturday,October 8, 2005 with Auctioneer; Rick Wester at the BearsvilleTheater; Rt. 212, Woodstock, NY, 7pm

Auction admission is free with this catalog for up to two guests

PRINT PREVIEW

Prints will be on view at the Center from September 23 -October 7, Wed-Sun, 12-Spm. Lots will be posted online at www.cpw.org & on the day of the sale can be viewed at the BearsvilleTheater; Rt. 212, I 2-4:30pm.

NYC PREVIEW PARTY

Tuesday, September 27, 6-8pm

Join us in NYC for a very special preview of highlights at the Yossi Milo Gallery, 525 W 25th Street, NYC. Admission is complimentary w/ catalog.

PRE-AUCTION BENEFIT DINNER at BEARSVILLE THEATER, Woodstock, NY

Saturday, October 8, 5-7pm

Includes private print preview from 5-6pm, dinner; drinks, dessert, catalog, and admission to live sale. $75 per person (advance RSVPrequired)

WE ALSO WELCOME ABSENTEE BIDS

While prospective buyers are encouraged to view work for sale in person during preview or by appointment, we welcome Absentee Bids. Forms are located on page 47. You may also contact CPW directly to request a condition re::iort on any lot up until 3pm, on Saturday,October 8.

T 845 679 9957 / 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 in cooperation with the Catskill Mountain Foundation. Copyright 2005, 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 essaysbelongs 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. Photography Quarterly is printed by Ruder Finn Printing and distributed by Ubiquity Distributors, Brooklyn, NY 11217; Editors, Kate Menconeri,Ariel Shanberg;Editorial Assistant, Liz Glynn;Ad Manager. Lawrence P.Lewis,Copywork. Catherine Dentino & Andrew Katzowitz;Typesetting, SarahTaft /Catskill Mountain Foundation, Hunter, NY. Cover:© Thomas Allen, Uplift.2004, C-print. CourtesyFoleyGallery,NYC.

Board of Directors: Daniel Cooney, Susan Ferris, Nancy Glowinski. W.M. Hunt. Diane Love, David Maloney, Kitty McCullough, Yossi Milo, Emma Missouri, Dion Ogust, Robert Peacock, Ariel Shanberg, Alan Siegel, Gerald Slota, Bob Wagner.Advisory Board: Kaan-Jeff Baysa,Philip Cavanaugh, Brian Paul Clamp.Julie Galant,Alexander Grey, Howard Greenberg-Founder, Sarah Hasted Mann, Doug James, JuliaJoern, Ellen Levy,Peter MacGill, Marcia Reid Marsted, Elliott Meisel,Jeffrey Milstein, Sarah Morthland, Gloria Nimetz,Alison Devine Nordstrom, Miriam Romais, Lila Raymond, Ernestine Ruben, Neil Trager, Rick Wester. Staff:Ariel Shanberg,Kate Menconeri, Lawrence P.Lewis, Liz Glynn, Danielle Goodyear. Thankyou interns:Catherine Dentino.Anna Gurton-Wacher,Andrew Kauowitz, Katy Ellen Mayer.

V\elcome to the Center for Photography at Woodstock's 27th 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. 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 the r 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 Bruce Davidson, Mary Ellen Mark, and Keith Carter. We've presented numerous exhibitions including first solo shows, ground-breaking group exhibitions, and provided profess sional workspace and support for artists-in-residence for the 7th year in a row. Our Photographers' Salon group has met monthly and fostered discussion and growth that wouldn't be possible 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 September we held the 2nd annual VISION AWARDS. Created to recognize excellence in the field of photography for leadership and artistic excellence, the 2005 Awards honored the tremendous accomplishments of Kenro lzu, whose images of sacred ground surprass documentaion and offer visual exclamations of the spiritually sublime, and Howard Greenberg, who has for over 30 years chamiponed the medium of photography as a

practicioneer. founder of the place we all now know as the Center for Photography at Woodstock, gallerist, curator. educator. and collector.

Now as the year brings us to our 27th annual benefit auction of fine contemporary & historic photography we find CPW's accomplishments supported by the amazing array and number of photographers whose work appears in this year's benefit event. 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 countless more!

We invite you to honor their generosity and we look forward to seeing you and celebrating photography here in Woodstock on October 8th!

- Ariel, Kate, Larry, & Liz

Enormous thanks to: the artists, galleries, and donors who contnbuted work to this benefit; and to all our volunteers, advertisers, and support staff-this benefit would not be possible without your amazing he/pl

Additionally a very special thanks to our Primary Printing Sponsor Ruder FinnPrintingServicewhose support has helped make this issue of the Quarterly possible. So much of what the Center for Photography does is about collaboration and partnerships, and we are very pleased to have wonderful partners in producing this event.

Founded in 1977, the Center for Photography at Woodstock, a not-for-profit 50 I (c)(3) artist-centered organization, offers innovative programs in education, exhibition, publication, fellowship, residency, and services relating to the photographic arts, which create access to professional workspace, nourish engaging responses, and build new audiences. For many of the thousands of artists we have worked with, CPW has provided many of them with their first major recognition in the field.We educate and promote future generations of artists and create a dialogue about and through the contemporary photographic arts.

© Gordon Parks, Emerging Man, 1952, printed later, gsp, Courtesy Howard Greenberg Gallery, NYC.

RUDER•FINN

Printing Services

Full Service: Post Cards

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PRE-PRESS

PRESS DEPARTMENT

BINDERY

All contemporary prints are courtesy the artist in addtion to donor and/or gallery noted.

I. Bonjean, Isabelle, CartierShooting's Orchid,Paris,May,2005, 2005, Epson Archival, I 3x IO", $800/ 1200. CourtesyTony Jay.

2. Rubin, llan, Detail#5, from the series RichardSchultzI 966 Chaise,2004, ed# I/ I 0, Epson Archival, signed in pen on front of print, I 2x8", $ I 000/2000. CourtesyTheArtDepartment,NYC.

3. Williams & Russ, Camisole#I, 2004, gsp, signed in pencil on back of print & embossed Williams & Russ, I 8x 15", $400/600. CourtesyPhotosensua/isGallery, Woodstock,NY.

4. Bistline, Walt, SouthPadreIsland,2003, ed#4/20, Epson Archival, signed in pencil on front of print, 22x 17", $500/800.

5. Edelson-Safford, Julie, GirlonNeusky Prospect,St. Petersburg,2003, ed#3/ I 0, CPrint, signed on front of mat, 21x 14", $500/700.

6. Goldsmith, Lynn, Rose, 1999, ed#4/20, Iris, signed in pencil on back of print, I 2x8", $800/ 1200. CourtesySid Schneider,NYC.

7. Rosenstock, Ron, MonksRobes,Abbeyof Sant-Antimo,1999, gsp, signed in pencil on front of mount, I 3x8", $600/900.

8. Uelsmann, Jerry, Untitled (eye in water), 2005, combinations print 5 negatives, gsp, initialed in pencil on front of mat & signed in pen on back of print, I 3x IO",$ I 500/2500.

9. Sepuya, Paul, Eric,2005,AP, Cibachrome, signed in pen on back of print, I 3x 16", $500/800. CourtesyDaniel CooneyFineArt,NYC.

I 0. Burkholder, Dan, RoadonMoor, Scotland,2004, ed#6/50, archival pigment print, signed in pen on front of print, 9x 14", $500/800.

11. Porter, Liliana, FurCoat,2004,AP I from ed of 5, Epson Archival, signed in pen on a label, I 2x 17", $ I 000/2000.

12. Hunter,Allison, CWStorage, 2002/2003, ed#2/20, Epson Archival, signed in pen on front of print, 3x8", $250/500. Courtesy511Gallery,NYC.

13. Dentino, Catherine, CarLights, 2005, C-Print, signed in pen on back of print, I Ix 14", $200/400.

14.Akin, Chris, UntitledUFK Airport), 2004, ed#2/20, Ughtjet Fuji Crystal Archival, signed in pen on back of print, I Ox 15", $250/500.

15. Liljedahl,Anne, Untitled (tree lined drive), 1994, gsp, signed in pencil on back of print, 5x8", $200/400.

16. Lischka, Tamara, SmallAlligator#I, 2004, ed#3/20, selenium toned gsp, signed in pencil on back of print, I Ox 13", $300/600.

17.Easterson, Sam, WolfLickingIts Own Snout,2004,AP, Giclee, signed in pencil on back of print, 9x 12", $800/ 1200. Courtesy DanielCooneyFineArt,NYC.

18. Frese, Lynda, The Blue Mosque,2005, ed#2/25, Epson Archival, signed in pencil on front of print, I 3x IO". $200/400.

19. Phibbs, Richard, Water Island,New York,2004, ed#3/4, gsp, embossed & signed in pencil on front of print, I 9x 15", $800/ I 200. CourtesyThe Art Department, NYC.

20. Maas, Rita, Untitled 04. I 6 (poppies + pink book), 2004, Epson Archival, signed in pen on front of print, I 5x 12", $500/800.

21. Harris, Phil, Cafeteria,Redundany LocomotiveWorks, Prague,2000, platinum/palladium, signed in pencil on back of print, 4x3", $300/600.

22. Kramer, Daniel, Bob Dylan Backlit on

Stage,Forest Hills Stadium,NYC, I 965, 2005, gsp, signed in pencil on back of print, I 8x 15", $1500/2000.

23. Dane, Bill, LasVegas,1974, vintage, gsp, signed in pencil on back of print, I 2x8", $600/800. Courtesy Thomas V. Meyer FineAr~ San Francisco,CA.

24. Romer, Dorian, Archway o(Trees, 2003, ed# I /15, C-Print, signed in pen on back of print, I 8x 18", $300/600.

25. Levy, Carrie, Untitled,from Domestic Stagesseries, 2004, C-Print, signed on label on back, 20x 15", $1200/ I 500. Courtesy Daniel CooneyFineAr~ NYC.

26. Goodyear, Danielle, Slanted Ship, 2004, gsp, signed in pencil on back of print, I 6x 13", $300/600.

27. Cramer,Aileen, Park Fence,Denmark,

1956, vintage, unique ed# I /1, printed by Konrad Cramer, gsp, signed in pencil on back of print, 8x IO", $500/700.

28. Staller, Jan, Chiba.Japan,2004,AP, CPrint, signed in pen on front of print, 7x 14", $800/ 1200.

29. Marc, Stephen, Untitled,from Passage on the UndergroundRailroad series, 2005, Archival Pigmented inkjet, signed in pen on back of print, 9x26", $800/ 1200.

30. Citret, Mark, CypressGrave#2, 2002, ed#3/45, toned gsp on vellum, signed in pencil on front of print, 6x9", $800/ 1200. CourtesyHoward Greenberg Gallery,NYC.

31. Robinson, Lisa, Solo,2005,AP, CPrint, signed in pen on back of mount, I 6x20", mounted, $500/800.

32. Barker,Joan, PuertoRicanDay Parade, NYC I 986, 2005, gsp, signed in pencil on back of print, 9x 13", $250/500.

33. Webb, Rebecca Norris, Giraffes, Paris,2002, charity edition, Fuji Crystal Archive, signed in pen on back of print, 8x 13", $400/600.

34. Lippman, Marcia, Mantparnasse, 1995, ed# I 0/25, toned gsp, signed in pen on back of print, I lxl?",$800/1200.

35. Dunkerley, Susan, Book,2004, ed#3/ I5, gsp, signed in pencil on back of print, I 6x I 3", $300/600.

36. Edwards, Beth Yarnelle, Shayla,age 4, 2000, ed#8/25, C-Print, signed in pen on back of print, I 8x 14", $750/ 1500. Courtesy Robert Klein Gallery,Boston,MA.

37. Tillman, Hugo, Mrs. Felixde Narvaez, 2004, ed# I /2, C-Print, signed in pencil on label on back of mount, 24x20", $ I 000/ I 500. CourtesyDaniel CooneyFine Art, NYC.

38. Marcuse, Tanya, Apple Tree#5, from Fruitlessseries, 2005, platinum/palladium, signed in pencil on back of print, 4x3", $ I 000/ 1500.

39. Zoghlin, Ryan, Airshow #4, 200 I,

charity edition, gsp, signed in pen on front of print, 6x5", $300/600.

40. Shaker,Andrea, Pauses#2, 1994/2004, AP,gsp, signed in pencil on back of print, 5x4", $300/600. Courtesy Daniel CooneyFineArt, NYC.

41. McDonald,Anne Arden, Untitled (self portrait #25), 1990, ed#5/20, gsp, signed in pen on back of print, 20x 16", $800/1200.

42. Waplington, Nick, The Smiths, County Hall, 1984, 2004, ed#6/6, C-Print, signed in pencil on back of print, 22x 14", $2000/3000. CourtesyThe Art Department, NYC.

43. Witkin, Christian, Ballet Student (Ballanchine Method), NYC, 2003, 2005, charity edition, chromogenic archival print by Carol Fonde, Ltd., signed in pen on

front of print, 24x20", $ I 000/ 1500. CourtesyThe Art Department, NYC.

44. Fonde, Carol, Costa Rican Rainforest, 2004, ed#2/20, C-Print, signed in pen on back of mat, 20x24", $800/1200.

45. Toledano, Phillip, Let Me TakeA Breath, 2005, ed#2/6, C-Print, signed in pen on back of print, I 8x24", $ I 000/1500.

46. Marks, Betty, Zena Cornfield, Woodstock,NY,200 I, C-Print, signed in pen on back of print, I Ix 13", $200/400.

47. Kleinhans, John, Shells,2005, Epson Archival Pigment print, signed in pencil on front of print, I Ox 16", $300/600.

48. Taira, Ryuji, Hamagiku, 2004, ed#5/ 15, platinum/palladium, signed in pencil on front & back of print, 7x I I", $500/ I 000. CourtesyFotosphere

Gallery,NYC.

49. Cavanaugh, Philip, LowTide: Provincetown,MA, 2002, gsp, signed in pencil on back of print, 7x IO", $200/400.

50. Kitei, Michael, Chinatown, 1978, 2005, carbon pigment print, signed in pencil on front of mat, Bx IO", $200/400. CourtesyImages 2 Gallery,Fort Lauderdale, FL..

51. Ludwig,Allan, Downtown Series50 Oaopi, 2005,AP, Epson Archival, signed in pencil on back of print, I 8x28", $750/ 1500. CourtesyHasted/Hunt Gallery, NYC.

52. Arbeit, Mark, Atelier Didier Walter, Paris 1994, 1995, gsp, signed in pencil on back of print, I Ox IO", $600/800.

53. Ragan, Vicki, Provence,200 I /2005, ed#3/25, gsp, signed in pencil on back of print, I Ox IO", $600/800.

54. Moisio, Walferd R., Longchamps,NYC 1940s, 2005, ed#3/20, gsp, #ed in pencil and estate stamped on back of print, I Ox IO", $250/500. CourtesyJack Demeischel,NY

55. Harris, Kira Lynn, White Pines, Byrdc/iffe,Bedroom#I, 2004, ed#l/5, digital C-Print, signed in pen on back of Sintra, 20x20", $ I 000/ 1500. Courtesyof Bruno Marina Gallery,Brooklyn,NY

56. Finke, Brian, Untitled (Bodybuilding 8), 2003, ed# I /50, C-Print, signed in pen

on back of print, 9x9", $400/800. Courtesy CLAMPART,NYC.

57. Gallacher, Jason, Untitled, 2005, ed#5/20, archival digital print, signed in pencil on back of print, I 8x 18", $600/800.

58. Rosenthal, Ken, Seen and Not Seen #174-3, 200 I, ed#l 2/25, gsp, signed in pencil on back of print, I 5x 15", $500/ I 000. CourtesyEtherton Gallery, Tucson,AZ and CLAMPART,NYC.

59. Anderson, Dave,Janine, 2003, charity edition, gsp, signed in pencil on back of print, I 2x 12", $800/ 1200. Courtesy CLAMPART,NYC.

60. Milstein,Jeffrey, Boeing 737 #2, 2005, limited edition AP, Epson Archival, signed in pencil on back of print, 20x20", $500/1000.

61. Michiels, Bart, The Bulge I 944, Bastogne #I, 2003, 2005, ed#3/ I 0, C-Print, signed in pencil on back of print, 28x33", mounted on plexi, $ I 500/2000. Courtesy FoleyGallery,NYC.

62. Hannigan, William, Untitled (Woodstock, NY), 2004,AP#I, Fuji Crystal Archive, signed in pen on back of print, 16x20", $800/ 1200.

63. Diaz, Esteban Pastorino, Riachue/o, 200 I, charity edition, Epson Archival, signed in pen on back of print, 12xl4", $600/900. Courtesy PhotographsDo Not Bend,Dallas,TX.

64. Carucci, Elinor, Eran Needs to be Waken Up, 2002, charity ed# I I /SO,CPrint, signed on back of print, I Ix 14", $ I 000/ 1500. Courtesy Hasted/Hunt Gallery, NYC.

65. Potash, Fawn, Sycamore,2003, ed# I /5, gsp, signed in pencil on back of mount, 7x IO", $750/ I 000.

66. Gerson, Bernard, And He FlewWith The Birds,2004, ed#2/50, gsp, signed in pen on back of print, I 3x 19", $300/600. Courtesy Ga/erie BMG,Woodstock,NY

67. Ruben, Ernestine, Early in Bayon Cambodia,2005, ed#2/35, platinum/palladium, signed in pencil on front of print, I Ox 15", $ I 000/2500. CourtesyJohn StevensonGallery,NYC.

68. Mydans, Carl, Potato Planting,Limburg, Germany,1954, vintage, gsp, signed in pen on front & back of print, I 4x22", $1500/$2000. CourtesyEstate of Carl Mydans.

•··69. Littwin, Kathi, Bathing at the Gel/art Spa,Budapest, 1996, gsp, signed in pencil on back of print, I Ox IO", $300/600.

70. Mistretta, Martin,Jackie's Hands, 2004, gsp, signed in pencil on back of print, I 3x I 3", $250/500. CourtesyThe Creative Center for PeopleWith Cancer.

71. Fitzsimmons, Joan, Cakes,2005, gsp, signed in pencil on back of print, 8x8", $200/400.

72. Arsenhault, John, Lonely,2004, ed# I /5, C-Print, signed in pen on back of print, 30x30", $2000/3000. CourtesyPeter Hay Halpert FineArt, NYC.

73. Robbins, Saul, Ready,2004,AP, CPrint, signed in pen on back of print, I Ix I I", $200/400.

74. Laval, Karine, Swimming Poof#28, Oslo,Norway,2003, ed# I/ 15, Chromogenic print, signed in pen on back of print, 20x20", $ I 000/2000. Courtesy Bonni Benrubi Gallery,NYC.

75. Nelken, Dan, Bath Portraits:Four Eyes, 2003, ed#3/25, C-Print, signed in pen on front of print, I 5x 15", $800/1200.

76. Cratsley, Bruce, Egyptian Staircase, Louvre, 1980, ed#8/35, gsp, signed in pencil on back of mount, I 4x 14", $1600/ 1800. Courtesy Sarah Morthland Gallery,NYC.

77. Wagner, Bob, RisingFromAshes (La Fenice)Venice,Italy, 2002, gsp, signed in pencil on back of print, 14xl4", $600/800.

78. Gruen, Bob,John Lennon,NYC, I 974, 1999, gsp, signed in pen on front of print, I 2x 16", $600/ 1200.

79. Means,Amanda, Flower #86, 1997, ed#4/20, gsp, signed in pencil on back of print, I 5x 18", $800/1200. Courtesy Hasted/Hunt Gallery,NYC.

80. Cohen, Mark, [Embrace + Fingernails] Zocafo 2003, 2003, gsp, signed in pencil on back of print, I Ix 17", $3500/4500. CourtesyBruce SilversteinGallery,NYC.

81. lzu, Kenro, Angkor #4,Angkor Wat, I 993, 2005, #3 of unlimited edition, platinum/palladium, signed in pencil on front of print & back of mat, I 3x 19", $ I 000/2000. CourtesyHoward Greenberg Gallery,NYC.

82. Parker, Olivia, Ink Bottle, 200 I, ed#6/30, Epson Archival, signed in pencil on front of print, I 5x22", $1000/2000. Courtesy Robert Klein Gallery,Boston,MA.

83. Badach, Justyna, Untitled, Seascapes (after Monet), 2004, charity edition, Epson Archival, signed in pen on front of print, I 6x20", $400/800.

84. Rapp, Ray, Truck Z (truck in Holland Tunnel), 2000,AP, Epson Archival, signed in pen on back of print, 6x40", $500/ I 000. CourtesyFrederiekeTaylorGallery,NYC.

85. Evans, Susan E., Colorado,2005, charity edition. Epson Archival. signed in pencil on front of print. 3x45". $500/1000. Courtesy Hasted/Hunt Gallery,NYC.

86. Rinnhofer,Angelika, Felsen(estChristina,2005, C-Princ, signed in pen on back of print, 17xl4",$500/800.

87. Morrison, Stacy Renee, Aunt Susan's Monarch, 2003, ed#2/4, C-Print, signed in pen on back of print, 23x 19", $800/ 1200. CourtesyGregory Und Gallery,San Francisco, CA.

88. Kuo, Nina, Dot Dancer in Rayon,2000, ed# I /25, photo emulsion transfer on fabric, signed in pencil on back, 4x9", $ 150/300. CourtesyChina 2000 FineArt, NYC & donor Ce Roser.

89. Wides, Susan, Untided,from the Kaaterski/1series, Hudson River Landscape, I 0.15.04, 2005,AP, C-Princ, signed in pen on back of print, I 4x I I ", $800/ 1200. CourtesyKim FosterGallery,NYC.

90. Munkacsi, Martin, VacationFun,

Europe, I 929, 2003,AP#I, gsp, signed in pencil by his daughter Joan & estate scamped on back of print, I I x9", $ I 000/ 1500. CourtesyJoan Munkacsi + Howard GreenbergGallery,NYC.

91. Chernewski, Anita, CasablancaLily, 1986, ed#2/4, coned gsp, signed in pencil on back of print, I 5x IO", $400/600.

92. Stipe, Michael, Guest Cabin,2005, unique work print, gsp, signed in pencil on back of print, I 3x IO", $300/600.

93. Oelbaum, Zeva, CyanotypeGrasses #2 I, 2004, cyanocype, charity ed# I A/3, signed in pencil on back of print, I 4x I I", $ I 000/2000. CourtesyHirsch & Adler,NYC.

94. Sweeney, Marla, Blue Terrier, 1999, CPrint,AP, signed in pen on back of print,

I Bx 18", $750/ I 000. CourtesyYossiMilo Gallery,NYC.

95. Fuller,Anthony, Untitled (yellow raincoat), ed# I/ I 0, signed in pen on back of print, I 9x 19", $1000/$1500.

96. Swanson, Rebecca, Lotus,2003, ed# I /I 0, archival pigment print, signed in pencil on front of print, I 2x 12", $400/800.

97. Whittle, Scott, Dubai 2003, 2005, CPrine, ed# I /3, signed in pen on front of print, I 7x 17", $300/600.

98. Lindbloom, Eric, Horses,Florence, I 979, I 994, gsp, signed in pencil on back of print, I 2x 12", $400/600. Courtesy Howard GreenbergGallery,NYC.

99. Day, Catherine, At Your Own Risk:V Motel, 1999, ed#2/25, gsp, signed in pencil on back of print, I Bx 19", $400/600.

I 00. Tremblay, Guy, Natasha, 2005, ed#2/ I 0, selenium coned gsp, signed in pencil on back of print, I 4x 14", $400/600.

IO I. Martin, Denise Prince, American Bingo,2004, C-Print, signed in pen on front of print, I Ox IO", $500/700.

I 02. Gelles, Judy, Mobile Home #2, 200 I, AP of 25, Lambda Print, signed in pencil on back of print, I 5x I 5", $800/1200. Courtesy Stephen Cohen Gallery,LosAngeles, CA.

JI 03. Raymond, Lilo, Bowl, 1982,gsp, signed in pencil on front of print, I 8x 12", $900/ I 200. CourtesyJohn StevensonGallery, NYC.

I 04. Mazzeo, Michael, GoddessII, 2004, unique, wet plate ambrotype, signature

etched on plate verso, I Ox8", $500/1000 .

I 05. Uelsmann, Jerry N., The Committee, 2002, gsp combination print from 4 negatives, signed in pen on back & initialed in pencil on front, I 3x IO", $1 000/2000.

I 06. Stern,Andrea, Ezra, 2002, C-Print, signed in pen on back of print, 22x 17", $500/ I 000. CourtesyHasted/Hunt Gallery, NYC.

I 07. Pommnitz, Wayne, Blue,2005,

ed# I /3, C-Print, signed in pen on back of print, 20x 16", $250/500.

I 08. de Warren, Patrick, Call for a Revolution,200 I, C-Print, signed in pen on back of print, I 2x9", $250/500. Courtesy Hope Gallery.

I 09. Kellner, Tatana, Beached,2005, ed# I /5, gsp, signed on back of print, I 7x 13", $400/800.

I I 0. Farber, Robert, Nude With Veil (from plate 53, Natural Beauty book), 2004, Epson Archival Pigment print on Arches, initialed in pen on front of print, I 4x 12", $1000/ 1500. CourtesyTimothy YargerGallery,BeverlyHills, CA.

I I I . Armstrong, Bill, Untitled (#703 Buddha), 2003, C-Print, signed in pen on back of print, I 4x I I", $500/700. Courtesy CLAMPART,NYC.

I 12. White, Shoshannah, Moth, 2005, Epson Archival w/ encaustic on wood, signed in pen on back, 6x6", $300/600.

I 13. Yoo, Soon-Mi, Little Sisters of the Holy Family, 1997,gsp, signed in pencil on back of print, 8x8", $300/600.

I 14. McEntee, Nancy M., Stars & Fireflies,2003, gsp, signed in pencil on back of print, I Ox IO", $200/400.

I 15.Winiker, Barry M., Crystal Cruises' Crystal Symphony,2004, gsp, signed in pencil on back of print, 9x9", $200/400.

I 16.Johanson, Sandra, Sea Urchin, 2004, ed#2/ I 0, gsp, signed in pencil on front of print, 9x9", $400/600. CourtesySarah Morthland Gallery,NYC.

I 17. Ogust, Dion, Headless Horse Man,

2004, gsp, signed in pencil on back of print, 9x9", $300/500.

I 18.Alt, Jane Fulton, Untitled, from Morning Light series, 2004, unique, gsp w/ encaustic on wood, signed in pen on back, 7x7", $300/600.

I 19. Ragan, Vicki, Untitled, 2005, gsp, signed in pencil on back of print, I 2x 12", $500/800.

120. Galembo, Phyllis, Skeleton,1999, Cibachrome, signed in pencil on back of print, I 4x I I", $800/ 1200.

121. Mark, Mary Ellen, Beautiful Ermine Posing,Trabzon,Turkey,I 965, 2004, ed#22/75, signed in pencil on back of print, I 3x9", $2500/3000. Courtesy Marianne BoeskyGallery,NYC.

122. Wegman, William, Ladder Day, 2000, ed#3/ 12, C-Print, signed in pen on back of print, 7x5", $ I 000/ I 500.

123. Slota, Gerald, Howdy Doody (from an original negative taken on the Howdy Doody show, c.1950), 2005, AP,gsp, artist's drawings and signature in pencil on back of print, I 4x I I", $800/1200. Courtesy Hasted/Hunt Gallery,NYC.

124. Fellman, Sandi, lnsea #32 (Daddy Long Legs), 200 I /2003,AP, split sepia toned gsp, signed in pen on back of print, Sx4", $500/ I 000. Courtesy Edwynn Houk Gallery,NYC.

125. Flynt, Robert, Untitled, 2004,AP, CPrint, signed in pen on back of print, 22x I 9". $800/ I 200. Courtesy CLAMPART, NYC.

126. Allen, Thomas, Uplift, 2004, ed#6/ IS, C-Print, signed in pen on back of mount, 20x 16", mounted, $800/ 1200. CourtesyFoleyGallery,NYC.

127. Koo, Bohnchang, Untitled (gloves), 2005, charity edition, gsp, signed in pencil on back of print, 12x9", $800/ I 200. CourtesyHasted/Hunt Gallery,NYC.

128. Adams, Shelby Lee, Cindy Reina, 2004, ed#2/25, gsp, signed in pencil on front & back of print, I Bx 15", $800/1200. CourtesyYossiMilo Gallery,NYC.

129. Clark, Larry, Untitled, from House Without Walls,a portfolio of ten photographs published by the Buhl Foundation, 1992, ed#SS/ I 00, gsp, signed in pencil on back of print, 9x 13", $1 500/2000. Courtesydonor Howard GreenbergGallery,NYC.

130. Klein, William, Club Allegro Fortissimo,Paris, 1990, gsp, signed, titled & dated in pencil on back of print, 9x 14", $2000/2500.

13 I. Weegee, Fly Eye'sView of Marilyn Monroe, 1950s,gsp, photographer's stamp on back of print & title in pen on front, BxIO", $3000/5000.

132. Steichen, Edward, The Model and the Mask, 1906, vintage photogravure from CameraWork.April 1906, 55:21, 6x8", $ 1200/ I 500.

133. Struss, Karl, ConsolidatedEdison from 2°d Ave, ElevatedNY c. I 912, from Karl Struss:A Portfolio, I 909/1929, Photofolio of Ann Arbor, 1979, ed#I 5/75, platinum print, numbered & signed in pencil on back of print, 3x4", $2000/3000.

134. Hine, Lewis, Untitled (newsboy in front of wagon wheel), c.1910, vintage, numerical notations in pencil, photographer's stamp. & company on back of print, 4x5", $3000/4000.

135. Brigman,Annie, The Brook, 1909, vintage photogravure from CameraWork, January 1909, 25:9, stamped w/ © I 909, Annie Brigman on mount, 6x8", $600/800.

136. Haviland, Paul 8., PassingSteamer, 1912, vintage photogravure from Camera Work.July 1912, 39: IS, 6x7", $600/800.

137. Lewis,Arthur Allen, Winter, 1916, vintage photogravure from Camera Work, October 1916,48:49, 8x6", $300/400.

138. Boughton,Alice, Nude, 1909, vintage photogravure from Camera Work, April 1909, 26: 13,8x5", $600/800.

139. Steichen, Edward, The Pool, 1903, vintage photogravure from Camera Work, April 1903, 2:7, 8x6", $ I 000/ 1500.

140. Faurer, Louis, New York c. I 949, 1980,gsp, signed, titled & dated in pencil on back of print, I I x7", $2000/3000.

141. Grunzweig, Bed rich, New York, 1954-55, printed later, gsp, signed in pencil on back of print, I 6x I S", $ I 500/2000.

142. Ron is,Willy, Rue Rambuteau, I 946, 1997,gsp, signed in pen on front of print, I 3x I 0", $1800/2000.

143. Sudek, Josef, Hazel Nuts, 1933, vintage, gsp, 6x4", $3000/4000.

144. Haviland, Paul B., Miss Doris Keane, 1912, vintage photogravure from Camera Work.July 1912, 39:9, 8x6", $600/800.

145. Wolff, Dr. Paul, Untitled (cigarette & coffee), 1930s.vintage. gsp, photographer's stamp on back of print, 8x6". $ I 500/2000.

146. Evans, Walker, Untitled (furniture refinished), c.193 I. printed later, gsp. artist's stamp & inscribed XIV and 6 7 in pencil on back of print, 4x6", $3500/4500.

147. Hine, Lewis, Family of Unemployed, Mr.Johnson, Scott's Run, WVA, 1937,gsp, National Research Project ofW.P.A. stamp, 262 + 69-RP-96 in pencil on back of print, 4x6", $500/700.

148. Kertesz,Andre, Martinique, I 972, printed later, gsp, estate stamp on back of print, 7x9", $6000/7000.

149. Giacomelli, Mario, Scanno(boy among seven townswomen), / 96 /, 2000, gsp, signed in pen on front of print, 3x5", $4000/6000.

I SO.Frank, Robert, Mary + Pablo Watching Newborn Andrea, c.1954, vintage, gsp, signed by Mary Frank on back of print, 7x IO", $12,000/ 14,000.

IS I . Capa, Robert, German Prisoner of War, 1944, I 970s, gsp, Life magazine stamp wl © Robert Capa, Magnum, notations in pencil & type in Russian on back of print, 9xl4", $2000/2500.

I 52. Winogrand, Garry, Wedding Party (receiving line), c. 1962, gsp, 9x 13", $4000/6000.

I 53. Bresson, Henri Cartier, A/iconte, Spain, 1932, printed later, gsp, signed in pen on front of print, 9x 14", $ I 0,000/ 12,000.

I 54. Welty, Eudora, from Mardi Gras Celebrations,New OrleansPortfolio,printed by master printer James Patterson in 1992, ed#46/60, toned gsp, signed in pencil on front of print & embossed "Diogenes Editions.Jackson, MS", I 3xl 2", $3000/4000.

155. Gibson, Ralph, Ship-Watch,Elba, 1982, c.1995, ed#6/25, gsp, signed in pencil on back of print, I 7x 12", $3500/4500. CourtesyHoward GreenbergGallery,NYC.

156. Munkacsi, Martin, Having Fun at Breakfast,c.1933, 2003,AP#2, gsp, signed in pencil by his daughter Joan & estate stamped on back of print, I I x9", $ I 000/ I 500. CourtesyJoan Munkacsi + Howard GreenbergGallery,NYC.

157. Hosoe, Eikoh, Kamaitachi #8, I 965, printed later, gsp, signed, titled, & dated in pencil on front & back of print, I I x8", $2000/2500. CourtesyHoward Greenberg

Gallery,NYC.

158. Bernhard, Ruth, Two Leaves,1952, signed in pencil on front & back of mount, I 3x IO", $4000/6000.

159. Sacabo, Josephine, Desire + The Eye, 2003, ed#B/30, toned gsp, signed in pencil on back of print, 21x 17", $800/ 1200. CourtesyJohn StevensonGallery,NYC.

160. Mark, Mary Ellen, Untitled (India), from HouseWithout Walls,a portfolio of ten photographs published by the Buhl Foundation, 1992, ed#58/ I 00, gsp, signed, titled & dated in pencil on back of print, I Ox9", $ I 000/ 1500.

161. Vishniac, Roman, ChildrenSeeking Light Outside BasementHome,Warsaw,1938, printed later, gsp, estate stamped & signed in pencil on back of print by Mara Vishniac Kohn, I 5x 15", $2000/3000. CourtesyMara VishniacKohn + Howard GreenbergGallery, NYC.

I 62. Geesaman, Lynn, Bernhein Arboretum, 1993, C-Print, signed in pencil on back or print, I 4x 14", framed, $1 000/ I 500. CourtesyYanceyRichardson Gallery,NYC.

163.Tice, George, Street Corner,Tallinn, Estonia,USSR,I 983, 1999, unique, gsp, signed in pencil on front of mount, 4x6", $800/1200.

164. Cramer, Konrad, FamilyHouse,c. 1930s,unique, gsp, signed in pencil on front of mount, 7x9", $ I 000/2000. CourtesyAileen Cramer,Woodstock,NY.

165. Parks, Gordon, EmergingMan, 1952, printed later, gsp, signed in pencil on back of print, 7x I I", $2500/3500. Courtesy Howard GreenbergGallery,NYC.

166. McCurry, Steve, MandalayWall, 2005, C-Print, signed in pencil on back of print, I 3x 19", $1500/2000. CourtesyTheArt

Department,NYC.

167. Mallo, Luis, In Camera 2002-03, #6 I, 2002, ed# I /5, C-Print, signed in pen on

back of print, 9x I I", $800/ 1200. Courtesy Hasted/Hunt Gallery,NYC.

168.Traub, Charles, Fran I 98 I, 1981, ed#3/ I 0, C-Print, signed in pen on back of print, 9x I I",$ I 000/2000. Courtesy Gitterman Gallery,NYC.

169. Hawkes, Pamela Ellis, StudioView #2340, 1998,AP ed#2/3, gsp, signed in pencil on back of print, I Ox 12", $400/600. CourtesyPepperGallery,Boston,MA.

170.Webb,Alex, PlayingFootball(soccer), 1992, Fuji Crystal Archive, signed in pen on back of print, 9x 14", $800/ 1200. Courtesy Hasted/Hunt Gallery,NYC

171. Lyons, Lisea, Untitled (pool), 2004, C-Print, I 4x 14", $600/800. Courtesy Heather Marx Gallery,San Francisco,CA.

172. Torgovnick, Jonathan, Untitled (marines), 2004, ed#2/25, C-Print, signed in pen on back of print, I 9x 19", $800/ 1200. CourtesyKlotz Gallery,NYC.

173. York, Torrance, Untitled (fence), from FunctionalGround series, 2004, ed# I /I 0, C-Print, signed in pen on back of mount, 28x28", mounted on 5intra, $800/1200.

174. Maisel, David, Terminal Mirage 2515, (Robert Smithson's SpiralJetty, 1970), 2005, C-Print, signed in pen on back of print, I Ox IO", $750/ 1500. CourtesyPaul Kopeikin Gallery,LosAngeles,CA;Von Lintel Gallery,NYC;Haines Gallery,San Francisco,

CA;Miller Block Gallery,Boston,MA.

175. Roy, Norman Jean, Untitled (Peru), 1999/2005,AP, gsp, signed in pencil on back of print, 9x9", $1500/2000. Courtesy The Art Departmen, NYC.

176. Kenna, Michael, Tree Portrait Study 4, Wakoto,Japan,2002, 2004, ed#2 I /45, gsp, signed in pencil on front & back of mount, 8x7", $1500/2000. Courtesy StephenWirtz Gallery,San Francisco,CA.

177. Fink, Larry, Real New York Underground3/88, 2005, ed#3/25, gsp, signed in pencil on back of print, I 4x 14", $1 500/2500.

178. Golemboski, Carol, PerfectFi, 2003,AP, gsp, signed in pencil on back of print, I 7x 17", $800/1200.

179.Johnson, Keith, Do Not Open, 2004,

ed# I /8, Epson Archival, signed in pen on front of print, 20x20", $500/800.

180. Ketchum, Robert Glenn, Difficult Terrain (or OverlandTravel,1999,AP of 33, Fuji Crystal Archive, I 4x 19", $600/800. CourtesyFahey-Klein,LosAngeles,CA.

181. Norfolk, Simon, Afghanistan,200 I, 200 I, C-Print, signed in pen on back of print, I Ox 12", $1500/2000. CourtesyBonni Benrubi Gallery,NYC.

182. Fee,James,F/y By,2005,AP,gsp, signed in pencil on back of print, I 4x2 I", $ I 000/2000. CourtesyCraig Krull Gallery, Santa Monica, CA.

183. Isis, Charise, Devil Girl, 2002, ed#3/25, gsp, signed in pencil on back of print, Bx 12", $500/800.

184. Berman, Zeke, Blue Flower Split,

from My Terrain,2004, C-Print, signed in pen on back of print, I 4x 19", $1500/2000.

185. Varnedoe, Juliet, California Freeway, 2004, toned gsp, signed in pen on back of print, I 5x 19", $600/900.

186. Davidson, Bruce, At the Loch in Central Park, 1994, gsp, signed in pencil on back of print, 5x 12", $1500/2500. Courtesy Howard GreenbergGallery,NYC.

187. Barber, Craig J., Eden in the Mekong, 1998, ed#5/25, platinum/palladium, signed in pencil on front of print, 8x20", $1500/ 1800. CourtesyKeith A. Gasser,Brooklyn,NY

188. Levinthal, David, Untitled, from the series Desire, 1999,AP, Cibachrome, signed in pen on front of print, 9x7", framed, $500/ I 000. CourtesyPaul Morris Gallery, NYC.

I 89. Platon, PresidentJimmy Carter, 200 I Digital C-Print, signed in pen on back of print, I 9x 14". $ I 000/1500. CourtesyTheArt Departmen, NYC.

190. Cray, Fred, Self-Portrait2005-0 I, 2005, ed#5/5, Epson Archival, signed in pencil on back of mount, 23x 19", framed, $ I 000/2000. CourtesyJanet Borden Inc., NYC.

191. Gruen, Bob, Tina Turner, I 970, 1985, gsp, signed in pen on front of print, I 6x I I". $600/1 000.

192.Triptych Lot of 3 / Vaud, Aleksandra & Hunek Alt, YouLook Like I Look, 2005,AP, Epson Archival, each signed in pen on back of mounts, each 21x 16", $1000/2000. CourtesyDaniel CooneyFineAr, NYC.

193. Opalenik, Elizabeth, Shower Embrace,2005, gsp, signed in pencil on back of print, I 3x IO", $600/800.

194. Larsen, Karl, Slash,2004, digital print, signed in pen on front of print, 14x9", $250/500.

195. Cianni, Vincent, Maria's Grandaughter,Grand Stree, Williamsburg, Brooklyn, I 996, 2004,AP, gsp, signed in pencil on back of print, 9x7", $300/500.

196. Scheinbaum, David, Death Valley Dunes IV, 1999, 2004, gsp, signed in pencil on front of print, I Ox4", $1000/ 1500. Courtesy Scheinbaum& Russek,Ltd, Santa Fe.NM.

197. Nix, Lori, Birds in Fligh, 200 I, ed#7/ I 5, C-Print, signed in pen on back of print, 20x24", $800/ 1200. CourtesyJenkins JohnsonGallery,NYC.

198. Tiscornia,Ana, Brie( News, 2004, ed#5/5, Epson Archival, signed in pen on label, Bx IO", $800/ 1200.

199.Jordan, Todd, Airport SanJuan, 2002, ed#l/5, C-Print, signed in pen on back of print, 20x24", $800/ 1200. CourtesyPeter Hay Halpert FineArt, NYC.

200. Schwartz, Charles & Bill Westheimer, FoldedClouds 6675, 2005, ed# I /5, Epson Archival, signed in pencil on back of print, I 3x 19", $ I 000/ 1500.

20 I. Lehmacher, Tim, Untitled (diving board), 2002,AP, C-Print, signed on label on back, I 6x20", $800/1200. Courtesy Daniel CooneyFineArt, NYC.

202. DuBois, Doug, Sue Marries Mark, I 99 I, 200 I, ed#2/ I 0, C-Print, signed in pen on back of print, I 5x22", $ I 000/ 1500. CourtesyRose Gallery,Santa Barbara,CA.

203. Sham broom, Paul, Marshfield, Missouri (population 4,508) Board of Aldermen,May 23, 2002, 2004, ed#6/ 15, Archival Pigment inkjet, signed in pencil on front of print, 9x24", $ I 500/2500. CourtesyJulie Saul Gallery,NYC.

204. Verglas,Antoine, Elizabeth Hurley, 2002, Epson Archival, signed in pen on front of print, I 4x 19", $ I 000/2000.

205. Hobson, Mary Daniel, Chrysalis, from the series Mapping The Body, 1999, ed#5/ I 0, Kodalith & mixed media collage, signed in pencil on back of print, I 2x9", framed, $500/ I 000.

206. Bassman, Lillian, Model with Butterfly, I 980s,AP, gsp, signed in pencil on back of print, I 6x 13", $2000/3000. Courtesy StaleyWise Gallery,NYC.

207. Doherty, Dornith, GroundWater, 2004, ed#2/25, C-Print, signed in pen on back of print, I 4x 14", $400/600. Courtesy Gerold PetersGallery,Dallas,TX.

208. Parisi, Mary, Boiled Chicken,2005, ed# I /20, C-Print, signed in pen on front of print, I 9x20", $500/800.

209. Shirobayashi, Kiriko, Lines,2002,

AP, C-Print, signed on back of print, 20x20", $500/800. CourtesyDe Santos Gallery,Houston,TX.

210. Jacobson, Jodie Vicenta,Jeans, Malta, 2003, ed# I/ I 0, Fuji Crystal Archive, signed in pen on back of print, I Ox IO", $500/800. CourtesyYanceyRichardson Gallery,NYC.

21 I. Feldstein, Peter, #545, 1995, ed#l 6/25, cliche berre gsp, each 40x40", framed, $ I 500/2000. CourtesyWM. Hunt

212. lmagire, Dorothy, Boat People (Grandma),2005, encaustic & Epson Archival on BFK, signed in pen on back of mount, 5x5", $ I 00/200.

213. McCormack, Dan, Michelle 8-0404-4CE, 2004, digital print, signed in pen on front of print, I 2x 11", $300/600.

214. Phelps, Brent,# 13 Ft. Pierre

National Grasslands,Stanley County,South Dakota, 1997, ed#2/27, C-Print, I 2x36", framed, $ I 000/2000.

215. Katzowitz,Andrew, Erin in Hood, 2004, Epson Archival, signed in pen on back of print, I Ix 17", $200/400.

216. Johansen, Laura, FoiledAgain,2004, AP, Durst Lambda C-Print, 20x24", framed, $800/ 1200.

217. Graham, David, Lanyon Quoit, Cornwall,England, 1990, 2003, ed# I/ I 2, CPrint, signed in pen on back of print, 9x 13", $400/800. Courtesy Hasted/Hunt Gallery,NYC.

218. Ess, Barbara, The Mystery of Dreams, from a commission for Newsweek, 2004,AP, C-Print, 8x IO", $800/ 1200.

219. Stratton, Margaret, Momenti Mori,

from Ancient Ruins,Abandoned Naples, 2005, ed# I /5, Epson Archival, signed in pencil on print, I 8x24", $600/ 1200.

220. Saville, Lynn, Glow,2002, ed#9/25, C-Print, signed in pen on back of print, I 4x22", $1200/ 1500. CourtesyYancey RichardsonGallery,NYC.

221. O'Sullivan, Stuart, Bronwen + Verity, 2003, ed# I /6, C-Print, signed in pen on back of print, 11x 15", $500/800. Courtesy Daniel CooneyFineArt, 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.

For over 20 years the Center for Photography at Woodstock has been fortunate to have one of fine art photography's pioneers in its midst. Lilo Raymond has been a mentor and inspiration to countless photographers who have been moved by her groundbreaking work and/or fortunate enough to have her as a teacher. In June 2005, the editors of PHOTOGRAPHY Quarterly invited Joan Barker, photographer, educator, and long time friend of Lilo to sit down with her at her Eddyville, NY home to shed light on the /ife of this dynamic talent.

Joan Barker You were born in Germany and spent your- childhood there in the I 920's and 30's.What was it like?

Lilo Raymond I come from a tennis family. My mother and her two sisters,actually she had three sisters, but one went to Oxford, England,and became a doctor which in the early 20's was an unheard of thing. All these three women played tournaments.They ranked number I, 2, and 3 in Germany. I practically grew up on the tennis court In fact, my mother forgot me there once.The talk was always about, "in the second set, that third ball," Oh Godl She left me at the tennis court in the baby carriage and then she remembered me.

J B Why did you travel to America?

LR We came to America when I was sixteen. All Jews who knew they were going to come to America, the young people, had

to have a trade before they emigrated.They had to have some kind of profession. So they apprenticed themselves to something. In Germany I had a friend who apprenticed herself in a photography studio and she took my picture and I thought, "Oh, this is really a nice thing to do." Meanwhile I suffered being apprenticed to a millinery. I hated it. I was sewing ribbons in hats. I couldn't care less. But then in 1938 Kristallnacht happened (the Nazi party incited and committed attacks against Jews, their synagogues,and businesses). I remember looking out the window while storefronts were being smashed.That was the end of my millinery career We left Germany in 1939. My mother had some friends in New York who sponsored us. My mother and father had divorced before that

JB

What opportunities awaited you in America?

LR Dabo yawns. Lilo says, ''The beloved dog yawns." I had all kinds of jobs. I was a mother's helper in the Bronx which I managed for 3 or 4 weeks. Not very long. And I worked in a factory. And then my mother moved to Long Island to be the tennis teacher on the Loew's estate (as in the movie theaters).They had three boats to go to the city with, an indoor pool, an outdoor pool. I had lunch there and it was served by three people and I thought, "well, that's America." It was quite an introduction to America.

LILO RAYMOND a

conversa,,0, 1

JB Did you also play tennis?

LR My mother taught me how to play. I hated it. But you have to make a living. When my mother decided to move to Florida, I took over her work. I was not a particularly good teacher. I was all right. I taught tennis for IO years. I started taking pictures in my early twenties but got discouraged because I used wonderful pink and purple mats. I was in Sid Grossman's class.We really liked each other but everyone made fun of my mats. I started again in my late thirties. I studied with David Vestal, who was a wonderful teacher.We went to his loft on 21st Street at 7 o'clock at night and at midnight, his wife, Agatha, who was a very good photographer, made very strong coffee and we went on talking about pictures and life 'till 3 or 4 o'clock in the morning. It was wonderful.

JB What kinds of pictures were you making?

LR At first I didn't have a camera.Then somebody gave me a 4x5 Graflex. I did still life.They weren't very good.And then I had a boyfriend who had a Rolliflex and he loaned me that.And I took people at the beach. During this time I had a job as an artists' model at the Art Students' League.Then in the summer I worked at a school up in Maine. I spent summers in Maine and Provincetown.

JB

How long did you work with Vestal's group?

LR After 3 or 4 years I drifted. I knew who I was by then.

JB

Your early life experiences were so varied. But you seemed inevitably to be gravitating toward art.

LR

Oh yes. Strange because even as a child, 12 years old, I went to the local museum looking at pictures and I thought that was pretty wonderful. It never occurred to me I could make pictures of some kind.

JB Is there a particular picture you recall?

LR Not really. They were pretty bloody I remember. Paintings,bloody paintings.

JB

What was the New York art world like when you began taking pictures?

LR It was very active, very exciting. There was Martha Graham's dance company. Andy Warhol and his group walked down 14th Street. There were plays by Arthur Miller, Tennessee Williams, Norman Mailer. It was the 60's, a very creative time. It's my favorite time because you had hope.

JB

Were you able to make a living in photography?

LR No. At that time commercial work was frowned upon.

J B So you were either an artist or it was your job.

LR Right. I worked at Helen Gee's coffee house gallery.The Limelight. Herb Raymond, my husband, made espresso and I was a lousy waitress. I met him at the Art Students' League. He was a painter Money didn't come into it One could just get by.That was important You had enough to provide.

J B The ideas and energy being expressed in the 60's and 70's seemed to have nurtured and inspired you.

LR We experimented. We did blur, sandwiched negatives, multiple exposure. We did all kinds of things.And what was wonderful was that there weren't that many of us. It was a community. We borrowed each other's cameras.That sort of thing. There was no competition. It was great. One sort of stumbled along doing one's own thing. It turned out sometimes that other people liked it But that wasn't the point You see, galleries didn't exist. There was one gallery called the Underground, and The Witkin Gallery was also one of the first In the Limelight, works by photographers like Ansel Adams, Robert Frank and Lisette Model were selling for $50.00. Lisette Model came in every night She was such a presence. We sort of became friends. She never remembered anybody's name. So she just called everybody "darling."

JB Where did you exhibit your early work 7

LR It started off that I had a show at Marcuse Pfeifer Gallery on Madison Avenue ( 1977).And Maggie Sherwood, who I had met in David Vestal's class,later had The Floating Foundation and I had shows there. It was a purple house boat, her favorite color She did experimental work. And she used to get in taxis and shoot out the window in Central Park. I really liked those photographs.

J B Were you directly infiuenced by the work around you?

LR I was not. I was in my late 30's and at that point I didn't need to copy or be infiuenced. I knew who I was. But earlier Josef Sudek's photographs influenced me. He photographed out in his garden. All the objects in his pictures have a presence. They are quiet and peaceful.

J B In your own work, your pictures appear remarkably spare. In your book, REVEALING LIGHT, Mark Strand writes, " it is possible to view Lilo Raymond's photographs as manifesting a spiritual substitute for our culture of accumulation. By filling space, we diminish it; by letting it be, we support a condition in which we can be free."Your photographs of interior spaces and objects have feeling of absence, which is sometimes overwhelming. Can you describe your process of seeing?

LR You want to get the essence.Youwait until that happens.

JB

So being patient, for you, is very much part of being a

© Lilo Raymond, Pitcher, New York

© Lilo Raymond, Tulips

© Lilo Raymond, Shades,Moine

photographer?

LR Very much. The seeing is an immediate response. But I have to stare at things for some time before I photograph. You become familiar.You find things. Memory is part of the process. I don't think it's conscious. One's childhood plays a great part in one's work, especiallythe visual influences. I bought cups that have the same flowers as I painted in art class as a child.The only things I was good at in school were art and gym.

JB

One can almost experience warmth and a sense of being touched while looking at light falling on the subjects or objects in your photographs. It's almost as if you are not really alone in the space.

LR When my eye lights upon something, it's never really without human presence. Even an egg on a table, somebody's going to cook it one day.And an object I remember from Europe might be like the one in front of me, this pitcher, for instance. (Pitcherand SoapDish, 1972).I'm not so good with pictures of people. I like being alone. I think that has a lot to do with it. I become self conscious when other people are around when I'm photographing for myself And when you're alone, photographing, one thing leads to another. It's amazing. I love doing it.

JB

You must be especially inspired when visiting Europe.

LR Europe still inspires me very much, because it's so beau-

© Lilo Raymond, Tulip

tiful. Wherever you look it's beautiful. I'm talking about old little villagesand old cities.The countryside is wonderful. I never really had personal projects but one started in Spain. I wandered into a cemetery on Ibiza,where I spent 3 months. Having time to explore is very important to me. I need time to get used to a place and photograph. Like the angels I was totally captivated, still am. In the Italian cemeteries there were black clad ladies who really disapproved of this woman with a camera. But they were tolerant. It is so strange.You know when you are finished with something and I'm not finished yet.

JB

What do you think you are looking for with that project?

LR You refine it. And you focus more and now I'm most happy with portraits of angels in cemeteries. They are so beautiful and touching. And Madonnas, I am crazy about Madonnas! I respond to things1 And I remember how my grandmother took me to the Lutheran cemeteries on Sundays.

JB

Your ability to respond seems to carry over to your commercial work as well.

LR When I started doing commercial work people hired me because they had seen my photographs of still life and interiors made in natural light. I used my own visual sense in all my work, color or black and white. When I did the book on Country Inns with my friend, George Allen, we had a wonderful time. We traveled and we ate very well. We worked in New England and then

© Lilo Raymond, New YorkState

© Lilo Raymond, Vermont

in California, which was wonderful because I'd never been to California before. After the Country Inn book I worked for House Beautiful photographing interiors. I had a good time and it's very different from one's own work, because it's a group effort.

JB You so gracefully adapt to both solitary,personal ways of seeingas well as commercial commissionsof people and places.Howl

LR Well, I have occasional successes.I have to like the people. It's like my cooking. I can't cook for anybody I don't like, I burn everything. (laughs).

JB When you make portraits how much direction is involved/

LR No direction or very little. For example, when I photographed the poet, Mark Strand, who is wonderful, I saw this light in the hall in his loft in Manhattan and said, "Why don't you sit there?"That was it.

JB Why is your photograph, Oyster Shells, one of your favorites?

LR I just think it works. And other people liked it too. I had a good time.We were on Cape Cod and we picked up these oysters from the beach.At that time you could do it, and we opened them and photographed them and ate them.

JB How self critical are you about your work?

LR I'm quite critical. I think you learn it. Most photographers do this.You're very excited when you take the picture.You're very excited when you finally see the contact sheet. Then you print it and hang it on your bulletin board and walk by a few times and say,"Well, that's really not so great." It takes a long time to be a good editor of your own work. You are emotionally involved, not just visually.

JB

When you edit, are you emotionally detached?

LR Absolutely.

J B And when you are photographing, are you emotionally detached then?

LR You can't have your emotions overfowing while you're taking pictures but they come into it. The pictures wouldn't work without it. I think photographs that come from people's lives and experiences are best.

JB What challenges do people working in photography face today?

LR There are so many good photographers and they are so involved with getting their own style, at least from my teaching experience. In my time, you just had faith, faith in your eye. And it's a life raft or something for people. I have nothing against people enJoyingthemselves especially now, when everybody's a photographer. I really have nothing against it because it gives people pleasure. When I taught at the Maine Photographic Wor<shop

there were people from all walks of•life, people who came there for a reason; to have their lives changed. Of course, you can't change their lives but you can encourage people. I found that always very important because I really did get so discouraged in the beginning.

J B

How do you think you have touched people's lives through teaching?

LR. I think to give them permission to be themselves and go on their way.You can't teach a person how to have eyes.

JB Do your former students still keep in touch with you?

LR I never liked the word student. I called them photographers. And yes,they do. They write nice sort of letters to me, like 'Tm so glad you encouraged me .. " I really like that part.Actually teaching is to get the essence out of each student. People can start off being just awful then something happens and they become good.

JB

How do you help that happen?

LR I try not to be destructive and try to be encouraging. And maybe it's from exposure; other students or other books or work or other peoples' work in museums.All that and suddenly a light bulb goes on. I really saw it many times, and it's wonderful.

JB

What is your reaction to contemporary photography)

LR Lately I haven't seen that much. But I think some of it is quite beautiful, some of it is nonsense, some of it I don't understand.

JB

What would you like to say to people hoping to work in photography today?

LR This is a time when so much is about money. It really depends what a young person wants to do. If they want to do their own work or want to do commercial work and get paid for it or if they want to do both. I would just say intensify your vision. Use your eyes. Be open to life and art. Be aware.

© Joan Barker,June 2005

Lilo Raymond's work has been published in many books including her monograph, Revealing Light.Her photographs are in major collections including the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery,and the Getty Museum. She has exhibited at the John Stevenson Gallery and Elena Zang Gallery, among many.

Joan Barker is a photographer and adjunct professor at the State University of New York at New Paltz, New York. Her talent has garnered a New York Foundation for the Arts grant, two CPW Photographers' Fellowship Fund awards, and numerous exhibitions including shows at OK Harris Gallery 1n NYC. Her photographs are included in public and private collections internationally.

noted books

40 Miles of Bad Road... , photographs by David J. Carol, essay by Anne Wilkes Tucker, Stephen Daiter Gallery Books, Chicago, IL; 2004, hard cover. black & white photographs.

Afghanistan - The Road to Kabul, photographs by Ron Haviv,forward by Alison Morley, essayby Ilana Ozernoy, de.Mo, NYC; 2004, hard cover, color photographs.

Afterwar -Veterans From A World in Conflict, photographs and interviews by Lori Grinker. introduction by Chris Hedges, de.Mo, NYC; 2004, hard cover, color photographs.

Between The Eyes - Essayson Photography and Politics, David Levi Strauss, introduction by John Berger.Aperture, NYC; 2003, hard cover, black & white photographs.

Bollywood Dreams - An Exploration of the Motion Picture Industry and its Culture in India, photographs by JohnTorgovnik, introduction by Nasreen Munni Kabir, Phaidon Press,NYC; 2003, hard cover, color photographs. Donated by the photographer

Evidence, photographs by Gary Knight, de.Mo, NYC; 2002, hard cover, black & white. Donated by de.Mo.

Ex Libris, photographs by Ralph Gibson, powerHouse Books, NYC; 200 I, hard cover, black & white photographs.

Food Chain - Encounters Between Mates, Predators, and Prey, photographs by Catherine Chalmers, essay by Gordan Grice, Aperture, NYC; 2000, hard cover, color photographs. Donated by the photographer

I Am Not This Body, photographs by Barbara Ess,texts by Michael Cunningham, Thurston Moore, and Guy Armstrong, Aperture, NYC; 200 I , hard cover, black & white photographs. Donated by the photographer

In the Bright Room, photographs by MayumiTerada,Kyuryudo Art PublishingCo.,Tokyo,Japan;2003, soft cover, black & white photographs.

Life Lines, photographs by Elizabeth Siegfried, introduction by Andrea Barrett, Hathaway Press.Toronto,Canada;2000, hard cover, black & white photographs. Donated by the photographer

Our Culture is our Resistance- Repression, Refuge,and Healing in Guatemala, photographs by Jonathan Moller, preface by Rigoberta Menchu Tum, essays by Ricardo Falla, Francisco Goldman, and SusanneJonas,powerHouse Books,NYC; 2004, hard cover, black & white photographs.

Rethink - Cause and Consequences of September I I th , edited by Giorgio Baravalle,de.Mo, NYC; 2003, hard cover, black & white and color photographs.

Vanishing,photographs by Antonin Kratochvil, essaysby Michael Persson,de.Mo, NYC; 2005, hard cover, black & white photographs.

War - USA, Iraq, Afghanistan, photographs and text by Christopher Anderson, Alexandria Boulat, Lauren Greenfield, Ron Haviv, Gary Knight,Antonin Kratochvil, Christopher Morris, James Nachtwey, John Stanmeyer, Peter Howe, Peter Maass, Remi Ourdan, David Rieff, de.Mo, NYC; 2003, hard cover, black & white and color photographs.

WE SKATEHARDCORE: Photographs From Brooklyn's Southside Photographs by Vincent Cianni with text by Vincent Cianni and those pictured, published by New York Univeristy Press, New York, 2004.

In November 1993, Vincent Cianni moved to an area in the Southside of Williamsburg, in Brooklyn, New York. Enthralled by the sounds and smells surrounding the Latino neighborhood, he began going to McCarren Park,where he discovered a community of skateboarders, inline skaters,and bike riders.

Made over a period of nine years,the photographs featured in We Skate Hardcore presents portraits of the young men and women whom Cianni befriended.They used skating not just for recreation, but also as a way to stay away from the violence and drugs that are prevalent in this area. Cianni was not initially accepted in this community and his motives for photographing were questioned by those he photographed. However. he became a regular presence in their lives, earning trust and sharing his work with them. Ultimately he found himself celebrating birthdays and weddings and became regarded as "their photographer''.

Along with the photographs, there are video stills and a DVD, which includes footage of the skaters and a slide show of memorials to the young men killed by violence in the neighborhood, drugs, or in some cases,AIDS. In addition to Cianni's photographic and video work, the book features writings by those pictured, as well as his own. He does not attempt to interpret their words; rather gives them a forum for self expression to reveal thoughts on themselves and their families. In some cases he encourages them to write directly on the photograph. In many instances spelling errors and grammatical mistakes suggestthe fact that very few of them finished school. Some of the text comes directly from transcripts of interviews conducted in 1997.

The book We Skate Hardcore has an intimate feeling to it; no doubt a result of Cianni's sincere relationship with the people in this neighborhood. He offers the reader a complex portrait of this community, from the subject's perspective to his own observations, which I find to be invaluable.Ultimately We Skate Hardcore presents a great insight into the lives of young people struggling to make lives for themselves.

-Katyellen Mayer

IN LIGHT ESTEBANPASTORINO DIAZ

©Esteban PastarinoDiaz,Belanio,Skopelos,Greece,2002, digitalC-print. courtesyPhotographsDo NotBendGallery,TX

In KAP (Kite Aerial Photography),Esteban Pastorino Diaz explores the image of the urban landscape from the perspective of a remote-controlled camera mounted on a kite.The photographs present a world that appears miniature and toy-like at first glance, when in fact, the landscapes are actual locations in Argentina and Greece. Playing with ideas of representation, the momentary loss of reference calls into question our perception of what is real.

Esteban Pastorino Diaz, born in Buenos Aires, Argentina in 1972, is currently an artist in residence at RijksakademieVan Beeldende Kusten in Amsterdam. His photographs have been exhibited internationally at venues including the Museum of Modern Art in Argentina. Diaz's work debuted in the U.S.in 2004 at Photographs Do Not Bend Gallery in Dallas,TX, where he is currently represented, and he exhibited at the Center for Photography at Woodstock in January 2005.

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 Centec making contemporary work easy to access- by appointment - Wednesday to Sunday noon to 5pm.

HASTED D HUNT

SARAH HASTED + W.M HUNT

will open with the first gallery exh1b1tion of

October 15 - December 23, 2005

Alexandra Boulat

Lauren Greenfield

Ron Haviv

Gary Knight

Antonin Kratochvil

Joachim Ladefoged

Christopher Morris

James Nachtwey

John Stanmeyer

529 West 20th Street, 3rd Floor New York, NY 10011

T 212 627 0006 F 212-627-5117

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