Photography Quarterly #95

p4

INTRODUCTION

p 6-31

AUCTION LOTS

photographs offered for sale

p 32-51 AT WORK

portfolios by CPW's 2004 & 2005 artists-in-residence

p 52-53

NOTED BOOKS & IN LIGHT veronika o'keefe

p 58-59

HOW TO BID & ABSENTEE FORM

28'"ANNUAL BENEFIT AUCTION

FINE CONTEMPORARY & HISTORIC PHOTOGRAPHS

TOSCJPPORT

THE CENTER FOR PHOTOGRAPHY AT WOODSTOCK

LIVE SALE

7pm, Saturday,October 7, 2006 with Auctioneer, Rick Wester at the BearsvilleTheater, 291 Tinker Street, Woodstock, NY

Auction admission is free with this catalog and admits two guests.

PRINT PREVIEW

Prints will be on view at CPW from September 16 - October 6,Wed-Sun, 12-Spm.

A special Preview Reception will be held at CPW on Saturday September 30, 5-?pm.

Lots will also be posted online at www.cpw.org & on the day of the sale can be viewed at the BearsvilleTheater, 12-Spm.

NYC PREVIEW

Thursday,September 21, 6-8pm

Join us for a special preview of highlights in NYC at ClampArt (in its new space!) located at 521-531 West 25th Street, ground fioor, with host Brian Clamp.

PRE-AUCTION BENEFIT DINNER

at BEARSVILLETHEATER, Woodstock, NY

Saturday,October 7, 5-7pm

Includes private print preview from 5-6pm, dinner, drinks, dessert, catalog, live music, and admission to sale. $70 per person/ $ I 20 per couple (advance RSVPrequired)

WE ALSO WELCOME ABSENTEE BIDS

Absentee bids will be accepted until 5pm Saturday October 7th. Prospective buyers are encouraged to view work for sale in person during preview, by appointment, and may contact CPW to request a condition report on lots up until 4pm on October 6. T 845 679 9957 / 845 679 7747 F 845 679 6337 / info@cpw.org

PHOTOGRAPHY Quarterl-f(PQ) is published by the Center for Photography at Woodstock (CPW). 59 Tinker Street. Woodstock, NY 12498.Copyright 2006. 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 PHOTOGRAPHY Quarterlyare 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 Cf'\N 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, Rachael Cohen;Ad Manager,Lawrence P.Lewis, Copywork, Amanda Barrett & Lea Bertucci; Typesetting, Ruder Finn Printing Services, NYC. Cover:© Mickey Smith, Power,2006, archival inkjet. Board of Directors: Susan Ferris,W.M. Hunt, David Maloney, Kitty McCullough, Emma Missouri, Dion Ogust, Roger Ricco, Ariel Shanberg.Alan Siegel,Gerald Slota, Bob Wagner. Advisory Board: Ko.inJeff Baysa,Philip Cavanaugh,Brian Paul Clamp. Darren Ching, Daniel Cooney.Julie Galant. Howard Greenberg-Founder, William Hannigan, Sarah Hasted Mann, Doug James.JuliaJoern, David Karp, Ellen K. Levy, Jeffrey Milstein, Yossi Milo, Sarah Morthland, Gloria Nimetz,Alison Nordstrom, Robert Peacock, Lilo Raymond, Miriam Romais, Kathleen Ruiz, Ernestine Ruben, Neil Trager,Judy Upjohn, Rick Wester; Andrea Young.Staff: Ariel Shanberg,Kate Menconeri, Lawrence P.Lewis, RachaelCohen, Sean Carroll. Thank you interns: Amanda Barrett. Lea Bertucci.Jennie Enright, Katherine Finkelstein, Ellie Leonard, and JR Poland.

The Center for Photography at Woodstock extends its gratitude and appreciation to the following who have helped make this year's benefit event possible:

The artists

Adele Q. Brown

Andrea Meislin Gallery

Anya Tish Gallery

Art Space Witzenhausen

Bearsville Theater

Bill Mindlin

Bob Wagner

Candace Dwan Gallery, Catskill Mountain Coffee

China 2000 & Pierogi

ClampArt

Daniel Cooney Fine Art

De Santos Gallery

Edwyn Houk Gallery

Ellen Nives

Etherton Gallery

Foley Gallery

Fotosphere Gallery

511 Gallery

Galerie BMG

Gerald Peters Gallery

GreenbergVan Doren Gallery

Harvey Osterhoudt

Hasted Hunt Gallery

Hosfelt Gallery

Howard Greenberg Gallery

Images Gallery

Jackson Fine Art

Janet Borden, Inc.

JessicaBradley Art + Projects

JHB Gallery

Joan Munkasci

John Stevenson Gallery

Julie Saul Gallery

Kim Foster Gallery

Lee Marks Fine Art

Lind Gallery

Light Impressions

Mara Vishniac Kahn

Martha Schneider Gallery

Paul Kopekin Gallery

Pepper Gallery

Peter Hay Halpert Fine Art

Photograph

Photographs Do Not Bend

Photosensualis Gallery

Ricco/Maresca Gallery

Rick Wester

Robert Burge

Robert Mann Gallery

Ruder Finn Printing Services

Sara Tecchia Gallery

Sarah Morthland Gallery

Scott Nichols Gallery

Sepia International

Stephen Clark Gallery

Stephen Wirtz Gallery

The Art Department

Thomas V. Meyer Fine Art

W.M. Hunt

Yancey Richardson Gallery

Yarger Fine Art

© Lisa M. Robinson,Emergence,2006. C-print

Dear Readers,

Power. Every individual who takes hold of a camera gains the enormous power photography offers us to tell a story, communicate experience, or share a part of the world, whether it be that which is outside or within ourselves.

Time and time again, the medium reaffirms its ability to transform perception, expand understanding, and increase awareness. It can illuminate creativity, mark tragedy, transformation, and serve as a mirror reflecting our actions and behaviors, halting time in a single frame. Simply put, photography is power.

Pq#95, the Center for Photography at Woodstock's annual benefit auction issue, is an invitation to celebrate that power and those who use photography to learn, grow, and share their vision. The following pages, featuring this year's auction of 220 lots, as well as portfolios of CPW's 2004 & 2005 artist-in-residence, are filled with incredible examples of photographers' ability to communicate wonderment, human experience, and more.

The artists in this issue represent double fold acts of generosity. Not only has each photographer created images that allow us to see the world anew, but they have donated examples of their vision to support CPW's ongoing mission, to support the creation, education, and presentation of photography and its commitment to being an artistic home, a haven for those seeking to engage or be engaged by photography.

For nearly 30 years CPW has spread the message of photography's power through our exhibitions, workshops, lectures, support of photographers with grants and residencies, nurturing community and dialogue, and exchange of ideas that bring forth new perspectives. This past year, over I 1,000 visitors have had the opportunity to experience a rich-gamut of photographic approaches and perspectives through CPW's gallery exhibts, lectures, and workshops. CPW's exnibitions included unremarkable, Ruth Adams' moving installation of 360 Polaroids chronicling her successful struggle with Hodgkin's Lymphoma, and the transformation of our main gallery by Bushwick Farms, the collaborative team of Tara Cuthbert and Stuart Solzberg, into a vaudevillian campsite complete with circus tents, slideshows, and popcorn.

Our audiences have been able to participate in lectures and workshops led by such breathtaking imagemakers as Eugene Richards, Mary Ellen Mark, Elinor Carucci, and Keith Carter.

And we haven't limited CPW's presence to our upstate New York environs. Our annual members exhibition Photography Now, juried by The New Yorker's Natasha Lunn, traveled to NYC, appearing at 40 I Projects in July and our exhibition, Foreign Affair, curated by CPW's Program Director, Kate Menconeri was on display at the Albany International Airport this past winter. Each day, thousands of travelers had the opportunity to pause in their journey and be engaged by contemporary photographers whose work contemplated our multi-facited relationship to travel, dislocation, and exploration. Our attendance at Fotofest in Houston, Texas; Rhubarb-Rhubarb in Birmingham, England; and both regional and national Society for Photographic Education (SPE) conferences; have allowed CPW to spread its passion anc:fcommitment to photography beyond our physical home.

So as you look over this year's benefit offerings, consider how much photography has enriched, informed, and expanded your life and join us in celebrating the power of photography on October 7th at the Bearsville Theater!

Ariel Shanberg Executive Director

Enormous thanks to all our volunteers,advertisers,and the CPW staff and Board - this benefit would not be possible without their amazing help!

Additionallya very special thanks to our PrintingSponsor Ruder FinnPrinting Service whose support has made this issue of the PQ possible. So much of what CPW does is about collaborationand partnerships and we are very pleased to have wonderful partners in producingthis benefit event.

Foundedin I 977, the Center for Photographyat Woodstock, a 50 I (c)3 artistcentered organization,offers innovativeprograms in education,exhibition,publication,fellowship,residency,and services which create access to professional workspace,nourish engagingresponses,and build new audiences.Formany of the artists we serve, CPW has provided their first major recognitionin the field.We educate and promote future generations of artists and create an internationaldialogue about and through photographyand related media.

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

I. Landy, Elliott, Bob Dy/on,Woodstock, NY, I 969 (Nashville SkylineAlbum Cover), 2006, C-print, signed in pen on front of print, I 4x9½", $800/1200.

2. Zoghlin, Ryan, Aerotone, 2006, orotone gsp on glass with 23 karat gold powder, signed in gold powder on front of mount, 7x5", $800/1200.

3. Rosenstock, Ron, Rose and Vase, Morocco, 2005, archival Light Jet, signed in pencil on front of print, I 2x9½", $300/600.

4. Okazaki, Masato, #96-17, 2005, ed#5/25, gsp. signed in pencil on front of

mount, I 2x9", $250/500. Courtesy FotosphereGallery.NYC.

5. Carey, Ellen, Untitled, from Ray Ban series, 2003, unique, C-print, signed in pencil on back of print, I4x I I", $1200/1500. CourtesyJHB Gallery,NYC.

6. Davis, Cecille, ShadowedNude, 1997, limited ed#3/ I 0, gsp, signed in pencil on back of print, I 3x9", $200/400.

7. Edelman, Richard, On the Calle de la Princesa,Barcelona,200 I, AP #3/6, archival inkjet, signed in pencil on back of print, 21 ½x 14½", $250/500.

8. Sepuya, Paul Mpagi, Scott, for Cameron,2005, ed#2/5, C-print, signed in pen on back of print, I9x 15", $500/ I 000.

9. Maas, Rita, Untitled (fern in glass), 2006, archival inkjet on Hanamiihle paper, signed in pen on front of print,

I 6x 12½", $500/750.

10. Osterhoudt, Harvey, Untitled (fence: bushes 2), 1997, gsp, ed#6/I 0, signed in pencil on back of print, 4x5¼", $400/800.

11. Auerbach, Amy, Findings:Comer Conversation,2003. ed# I /I 0, C-print, signed in pen on back of print, 9x 13", $250/500.

12. Teichmann, Esther Virginia,

Untitled IV,from Viscosityseries, 2006, C-

print, charity edition, signed in pen on back of print. 20x24", $400/600.

13. McCarthy, Joanna, Pansies,1984, ed#8/ I 00, archival inkjet, signed in pen on front of print, I 5x23", $500/ I 000.

14. Bonnell, Sian, Serving Suggestion #9, 2006, C-print, signed in pen on back

of print, 9xl I¼", $600/900.

15. Eagle, Arnold, El Station Interior, NYC, c. I 936-39, c. 1990, gsp, signed in pencil on back of print, 9¼x 12¼", $1 200/ 1500. Courtesy Harvey Osterhoudt.

16. Hurley, Jean Collier, An Image of War, 2006, ed#2/I 0, C-print, signed in pen on front of print, 9x 12", $200/400.

17. Hayward, Blaise, Adrift Ocean Study I, 2006, charity edition, gsp, signed in pencil on back of print, 4x6", $250/500.

18. Munkacsi, Martin, Dancers in Seville,I 930, printed later, AP, gsp, signed in pencil on back of print by his daughter Joan Munkacsi, I 21/,x9½", $ I 000/1500. CourtesyJoan Munkacsi + Howard GreenbergGallery,NYC.

19. Taira, Ryuji, Small Flowers,2002, ed#3/ I 0, platinum/palladium, signed in pencil on front of print, BxIO", $600/900. CourtesyFotosphereGallery,NYC.

20. Kalman, Jordanna, Untitled (stairs), 2006, ed#l/5, gsp, signed in pencil on back of print, I B¼x 12½", $250/500. Courtesywww.RaandeskGallery.com

21. Marcuse, Tanya, Tree#2, May 2006, 2006, charity edition, platinum/palladium, signed in pencil on back of print, 5x4", $800/ 1200. CourtesyHemphill Fine

Ar, Washington,DC.

22. Platon, Bono,2005, archival inkjet, signed in pen on front of print, 14xl I", $ I 500/2000.

23. Yankus, Marc, Upper Wes, 200 I, ed#2/ I 5, archival inkjet, signed in pen on back of print, I 3x8½", $700/ I 000. CourtesyC/ampAr, NYC.

24. Littwin, Kathi, Line 14 -The Mothership, 2005, archival inkjet, signed in pencil on back of print, I 5x IO", $500/1000.

25. Mazzeo, Michael, Bride with Bouquet,2005, unique wet plate ambrotype, signature etched on plate verso, I Ox8", $500/1000.

26. Clergue, Lucien, VenetianPortfolio, c. 1981,AP, gsp, 11x7½", $ I 000/2000.

CourtesyJohn StevensonGallery,NYC.

27. Tiscornia, Ana, Untitled with Ball, 2006, archival inkjet, signed in pen on back of print, 9x 13", $500/ I 000.

28. Graham, David, LasVegas,NV. 2003, ed# I /12, C-print, signed in pen on back of print, I Ox 12½", $300/600. CourtesyHasted Hunt Gallery,NYC.

29. Saville, Lynn, Taxi,2002, limited edition #2/25, C-print, signed in pen on back of print, 9½x 12¼", $600/800. CourtesyYanceyRichardsonGallery,NYC.

30. lzu, Yumiko, Secret Garden #I, 2004, ed#3/30, platinum/palladium, signed in pencil on front of print, 7½x9'/4", $800/1200.

31. Teunissen, Bert, Vilar Chao #7, 21/3/2002, 15:57, 2003, AP# I /2, Iris print,

signed in pencil on back of print, I 4½x 18½", $1500/2000. CourtesyArtSpace Witzenhausen,Amsterdam.

32. Correia, Margarida, Grandma Sunny'sJewelry Box,2006, ed#6/ I 0, Cprint, signed in pencil on back of print, I 5¼x20¼", $600/900.

33. Jordan, Todd, Joey Going to Sicily, 2004, ed#2/5, C-print, signed in pen on label on back of print, I 6x23 ½", $800/ 1200. CourtesyPeter Hay Halpert FineAr, NY.

34. Custodio, John, Dinosaur,1-40, Arizona, 2005, ed#2/25, archival inkjet. signed in pencil on front of print, I 2x24", $250/500.

35. Toledano, Phillip, Chromaphobia, 2006, C-print, signed in pen on back of print, 30x30", framed, $2000/2600.

36. McCliment-Horvath, Catherine and Charles Silver, Untitled (high heels), 1984, gsp, signed in pen on front of print, 171/,x12", $400/800. CourtesyHarvey Osterhoudt

37. Rinnhofer, Angelika, SeelensuchtII - Caterina,2006, AP, C-print, signed in pen on back of print, 24x20", $600/1200.

38. Marks, Betty, EvergladeFlowers, 2004, ed# 11/ I I, Fuji Crystal Archive, signed in pen on back of print, I Ox8", $200/400.

39. Rowland, Anne, God'sBrain, 1990/ 1992, ed#3/50, color coupler, signed in pen on back of print, I Ox8", $500/700.

CourtesyThomasV.Meyer FineArt, San Francisco,CA.

40. Duigenan, Elaine, Made In England, 2005, ed# I /20, Giclee, signed in pencil on back of print, IO½x8½", $400/600.

41. Armstrong, Bill, #920, 2006, ed# I /I 0, C-print, signed in pen on back of print, I 4x 11", $600/ I 000. Courtesy ClampArt,NYC.

42. O'Sullivan, Stuart, Woman Standingin Field,2006, ed# I/ I 0, C-print, signed in pen on label on back of print, I Ox 12", $300/600. CourtesyDaniel Cooney FineArt, NYC.

43. McGregor, Mike, Maddie, 2006, C-print, signed in pen on back of print, 20x 18", $500/750.

44. Gerson, Bernard, Dowry,2003,

ed#2/50, gsp, I 2¼x 18¼", $300/600. CourtesyGalleryBMG,Woodstock,NY.

45. Ludwig, Allan, Marilyn Monroe Doll in a Red Dress,2006,AP, archival inkjet, signed in pen on back of mat, 61/,x9'/4", $300/600.

46. Kitei, Michael, Oasis.JeffDavis County,TX, 2006, archival inkjet, signed in pencil on back of mount, 6xl4", $200/400. CourtesyImagesGallery,Fort Lauderdale,FL

47. Larson, Nate, RussianTicket,2004, AP, archival inkjet, signed in pencil on front of print, 9/2cl4", $300/600.

48. Hunter, Allison, Untitled #I, 2005/2006, ed#2/5, archival inkjet, signed in pencil on back of print, I Ox 17", $300/600. Courtesy 511 Gallery,NYC.

49. Louviere + Vanessa, Muse, 2004, ed# 12/25, archival inkjet, signed in pencil on back of print, I 4½x 19", $600/900.

50. Barber, Craig J., Templeof Uterature, 1997, ed#2/25, platinum/palladium, signed in pencil on back of print, I I ½x24½", $ I 500/2000.

51. Webb, Rebecca Norris, Giraffes, Paris,2002, 2005, charity ed#3, Crystal Archive, signed in pen on back of print, 8¼x 13", $400/600. Courtesy Ricco/Maresca Gallery,NYC.

52. Whilden, Jojo, Skid Mark 28, 2002, AP from an edition of 15,gsp, signed in pen on label, I 9x 19", $800/1200. Courtesy C/ampArt,NYC.

53. Barkai, Maya, A/on, 2005, ed#4/ I 0, C-print, signed in pen on back of print, I O¼x IO¼", $400/600.

54. Shapiro, Carla, Untitled, from Regrets& Possibilitiesin New Orleans series, 2006, ed# I /25, C-print, signed in pen on back of print, I 9½x 19¼", $500/ I 000.

55. Nelken, Dan, Sisters,2006,AP, ed# I /20, C-print, signed in pen on front of print, I 9x 19", $800/ I 000. CourtesyAdele Q.Brown,NYC.

56. Finke, Brian, Untitled (frat boys I), 2006, ed# I /50, C-print, signed in pen on

back of print, 9¼x9¼", $600/800. Courtesy C/ampArt,NYC.

57. Parisi, Mary, Baked Ham, 2006, ed#2/20, C-print, signed in pen on back of print, I 9¼x 19'/4",$300/600.

58. Lindbloom, Eric, Curtains,Florence, I 983, 1998, gsp, signed in pencil on back of print, 9'/4x9¼", $600/800. Courtesy Howard GreenbergGallery,NYC

59. Tremblay, Guy, Natasha, Provence, 2006, ed#2/ I 0, selenium toned gsp, signed in pencil on back of print, I 4x 14", $400/600.

60. Winiker, Barry M., Costa Cruises EugenioC, 1981, gsp, signed in pencil on back of print, 9x9", $200/400.

61. Johnson, Keith, Hedge, UK, 2004, ed#2/8, archival inkjet, signed in pen on

front of print, 24x30", $600/ 1200.

62. Mallo, Luis, #34 from In Camera series, 2002, ed#l/7, C-print, 19x23¼", $ 1500/2000. CourtesyHasted Hunt Gallery, NYC.

63. Ricco, Roger, Night Set (condensation), 2006, charity ed# I /3, C-print, signed in pencil on back of print, 32x40", $ I 500/3000. CourtesySaraTecchioGallery, NYC.

64. Opton, Suzanne, Soldier:Birkholz, 2005,AP, C-print, signed in pen on back of print, I Ox 12'/4",$600/ I 000.

65. Pickering, Sarah, Smoke Burst, 2005, ed# I/ I 0, C-print, signed in pen on label on back, I 2½x IO", $300/600. CourtesyDaniel CooneyFineArt, NYC.

66. Allen, Meredith, Maple Ave

(Digimon),200 I, ed#2/ 10, archival inkjet, signed in pen on back of print, I O½x 13", $300/600.

67. Potash, Fawn, Deluge,2006, archival digital print w/encaustic, inscribed on back of print, 6x6¼", $400/800.

68. Flynt, Robert, Untitled (horacio diptych), 2006. unique diptych, gsp + Cprint, signed in pencil on back of mount, I lx221/,", $1000/1500. CourtesyC/ampArt, NYC.

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69. Martin, Denise Prince, Jesus, EmpireWaist 2003, charity edition, C-print, signed in pen on front of print, I Ix I I", $200/400.

70. Wagner, Bob, Kingston,NY,2000,AP. selenium-toned gsp, signed in pencil on back of print, I0xl0", $500/700.

71. Wegman, William, Sea Dog, 1999, ed# I/ 12, Chromogenic print, signed in pen on back of print, 7x6¼", $1000/ 1500.

72. Major, Emily-Jane, / 88 I (passion, sorrow,joy ), 2006, ed#2/25, archival inkjet, signed in pencil on back of print, 9x9", $400/800.

73. Sweeney, Marla, BuddhaBay,2003, AP. Fuji Crystal Archive, signed in pen on back of print, 14x14", $750/1000.

74. Rauner, Michael, SalvationMountain, ScabCity,2004,AP. archival inkjet, signed in pencil on back of print, I 5½x 15½", $400/600. CourtesyScott NicholsGallery,San Francisco,CA.

75. Greenfield, Lois, Mia McSwain, 2006, archival inkjet, signed in pencil on front of print, I 2x 12", $600/1000.

76. McEntee, Nancy M., GardenSeries; Book,2005, gsp. signed in pencil on back of print, I 4x 14", $250/500.

77. Perry, Sean, BionicEarhole,2005, ed#2/ I 7, toned gsp, signed in pencil on back of print, 9½x9¼", $'600/800. Courtesy StephenClark Gallery,Austin,TX.

78. Menuez, Douglas, Untitled (men in vats),2006, AP.archival inkjet, signed in pencil on back of print, I 2½x 18", $ I 000/2000.

79. Sham broom, Paul, Star,TerrorTown, Playas,NM, from Securityseries, 2005, ed# I /20, archival inkjet, signed in pencil on back of print, I 6x20", $1500/2500. Courtesy Julie Saul Gallery,NYC.

80. Davis, Jen, Untitled no. I I, 2005,AP. C-print, signed in pen on back of print, I 8x2 I¼", $300/600. CourtesyLee Marks FineArt Shelbyville,IN.

81. Temkin, Brad, ThoughtfulPlace, Castletownshend,Co.Cork, Ireland,2006, ed#3/ I 0, digital C-print, signed in pen on back of print, 14½xl8¼", $600/1200.

82. lzu, Kenro, Angkor#7 I, Ta Prahm, CambodiaI 994, 2005, ed#5 of unlimited, platinum/palladium, signed in pencil on front of print, 13¼xl9¼",$1000/2000. Courtesy Howard GreenbergGallery,NYC.

83. Gowin, Elijah, Women /, 2005,AP. archival inkjet, signed in pencil on back of print, 9x 12", $200/400. CourtesyRobert Mann Gallery,NYC.

84. Sharifi, Soody, Mr. & Mrs., 2006, ed#2/ I 0, archival inkjet, signed in pencil on front of print, I 8x25", $600/900. Courtesy AnyaTish Gallery,Houston,TX.

85. Loret De Mola, Carlos, IsabelGrey, 200 I, 2005, ed# I /15, C-print, signed in pencil on back of print, I 9¼x26¼", $750/ I 000.

86. Gabriner, Ralph, Untitled, 2005, archival inkjet, signed in pencil on front of print, I 7¼x 12", $500/750.

87. Gruen, Bob, John Lennan,NYC TShirt Contact, 2006, ed#54/250, gsp, signed in pen on front of print, I 9x I 7", $1 500/2500.

88. Isis, Snake Eyes,from Hudson Valleyof the Dolls series, 2006, ed# I /15, gsp, signed in pencil on back of print, I 9x I 5", $500/800.

89. Lippman, Marcia, Flesh & Stone, 2006, AP, gsp, signed in pen on back of print, I 6x IO½", $1000/2000.

90. Panaro-Smith, Carol and James H aj ice k, Earth Vegetation03-2 I, 2003, photogenic drawing, signed in pencil on

front of print, 23½x 18", $800/ I 200. Courtesy Etherton Gallery,Tucson,AZ.

91. Brigman, Annie, The Source, 1909, vintage photogravure from CameraWork, January 1909, 25: 11, 9¼x5½", $800/1000.

92. Pratt, Frederick, Landscape,1914, vintage photogravure from CameraWork, April 1914, 46:9, 8½x6¼", $300/400.

93. Steichen, Edward, Uttle Round Mirror, 1906, vintage photogravure from CameraWork,April 1906, 14:13,8½x5½", $2000/3000.

94. Kernochan, Marshall, Ponte Vecchio,Florence,1909, vintage photogravure from CameraWork, October 1909, 28:43, 8½x6¼", $400/600.

95. Struss, Karl, The Landing Place,Villa Carlotta, 1912, vintage photogravure from

CameraWark, April 1912, 38:5 I, mounted on original page & stamped "John Crerar Library", 6½x8½", $500/700.

96. Steichen, Edward, The 8igWhite Claud, 1906, vintage half-tone from Camera Wark, April 1906, 55:27, mounted & stamped "John Crerar Library" on back of mount, 6½x81/,", $ I 000/ 1500.

97. Strand, Paul, 1916, vintage photogravure from CameraWark, October 1916, 48:29, 5x6¼", $2500/3500.

98. Ruben, Ernestine, Bill's Barn, 2006, charity edition, gum dichromate, signed in pen on front of print, I Ox I 5", $2000/3000. CourtesyJahn Stevenson Gallery,NYC.

99. Carucci, Elinor, Eran Needs to be Waken Up 200 I, 2005, ed#30/50, C-print, I Ix 14", $800/ 1200. Courtesy Edwynn Hauk

Gallery,NYC.

100. Tice, George A., Mennonite Meeting House, Lancaster,PA, I 990, 1994, gsp, 4x6", $ I 000/ I 500. Courtesy Candace Dwan Gallery,NYC.

IOI. Williams & Russ, On the Beach, 2002,AP #1,gsp, 15xl8'/4", $500/750. Courtesy PhatosensualisGallery,Woodstock, NY.

102. Kellner, Tatana, While YauWere Sleeping,2003, unique photographic emulsion on handmade paper, signed in pencil on back, I 5½x 19½", $600/800.

I 03. King, Frazier, BrassiaRex 'Pajara' AMIAOS (Stardust& Longissima),2006, ed#2/20, gsp, signed in pencil on back of print, I 8½x 14", $600/800.

104. Siskind, Aaron, Club Barron, Harlem, c. I 93 7, printed in 1989 from original negative at George Eastman House, gsp, Eastman House print stamp + date on back of print, I I '/4x9", $2000/3000.

I 05. Holz, George, S/ingbacks,Kiera Chaplin,2005, ed#2/25, gsp, signed in

pencil, I 3¼xl0½", $ I 000/1500

106. Gruen, Bob, Sid Vicious- I'm A Mess, SanAntonio, I 978, 2006, ed# 13/ 150, C-print, signed in pen on front of print, I 7x 121/,",$ I 000/ I 500.

107. Gottlieb, William P., Frank Sinatra with Music, c. 1947, printed later, gsp, signed in pen on front of print. I 2¼x IO½", $1200/ 1500.

I 08. Kirkland, Douglas, Jack Nicholson /975, 2006.Archival inkjet, signed in pencil on front of print, I 6½x 13". $800/1200.

I 09. Leiter, Saul, Snow,I 960, printed later, Fuji Crystal Archive, signed in pen on back of print, I 3 ½x9", $ 1500/2000.

I I 0. Wright, Morris, Front Room Reflectedin Mirror,The Home Place,Near Norfolk, Nebraska,I 947, 1980, print #4 from set #9 of a portfolio of 12 prints in a limited edition of 50, gsp, published by Witkin-Berley Ltd., signed in pencil on front of mount, 9½x7½", $2000/3000.

111. Disfarmer, Mike, Ed & Mamie Barger,from The Heber SpringsPortraits,

I 939-1946, printed later, ed#24/75, gsp, embossed with Disfarmer Collection Stamp & edicioned in pencil on back of print, I I '/4x7'', $800/1000.

112. Metzner, Sheila, Evyan,Flat Rocks, Woodstock,NY, 1968, 1968, vintage, ed#2/5, gsp, signed in pencil on back of print, 5x7½", $2500/5000.

113. Citret, Mark, Cypressand White Fence,Pt.Arena, 2003, ed#3/45, gsp, signed in pencil on front of print, 6¼x9", $800/ I 000. CourtesyHoward Greenberg Gallery,NYC.

114. Lischka, Tamara, Octopus #7, 2003, ed#2/20, gsp, signed in pencil on back of print, I 0¼x 13¼", $400/600.

115. Webb, Alex, Madrid, /992, 2006, charity ed#?/50, C-print, signed in pen on back of print, 9¼x 14", $900/ 1200. Courtesy

Hasted Hunt Gallery,NYC.

116. Davis, Tim, ClosedCircuit,2003,AP. ed# I /2, C-print, signed in pen on label, 20x24", $1200/4000. CourtesyGreenberg Van Doren Gallery,NYC.

I 17. Wides, Susan, Untided from Mobile Views,NYC, 9 pm, 12.07.05,2006, charity edition, C-print, signed in pen on back of print, I Ox 12'/4", $ I 000/2000. CourtesyKim FasterGallery,NYC.

I 18. Riedel, Jeff, SnowscapeI, Fargo,N. Dakota, 2002, C-print, signed in pen on back of print, 20x24", $750/1500.

119. Lech, A.J., O/o/,Poland,1983, ed# 12/35, sepia-toned gsp, signed in pencil on front of print, 4¼x7", $400/800. Courtesy Bill Mind/in, NYC.

120. Golemboski, Carol, It CreepsAll OverThe House (for CharlottePerkinsGilman), 2002, ed#3/ 15,gsp, signed in pencil on back of print, I 3x 13", $600/800.

121. Anderson, Dave, Jug Riding,2006, ed#4/25, gsp, signed in pencil on back of print, I Ox IO", $600/900. CourtesyC/ampArt, NYC.

122. Rosenthal, Ken, Untftled,from A Dream Haff Remembered#BOS-I7112,2005, ed#5/25, gsp, signed in pencil on back of print, 15xl5",$500/IOOO. CourtesyOampArt, NYC.

123.James, Christopher, DoubleStrike Africa,2002, ed#3/50, piezo/ carbon pigment print on rag, signed in pencil on front of print, 9x9", $800/ I 200.

124. Carter, Keith, Vermeer'sDream, 2004, ed#7/35, gsp, signed in pencil on front of print, I 5¼x 15¼", $800/ 1200. Courtesy Howard GreenbergGallery,NYC.

125. Fink, Larry, New Orfeans,April2006, 2006, ed# I /25, gsp, signed in pencil on back of print, I 4½x 14½", $1500/2000.

126. Kenna, Michael, HillsideFence,Study 3, Hokkaido,Japan,2002, ed#9/45, gsp, signed in pencil on front and back of mount, 7¼ x7¼", $ I 000/2000. CourtesyStephenWirtz Gallery,San Francisco,CA.

127. Bushwick Farms, Fearand Hope, 2005, ed# I/ 12, mixed media with lace, official ink stamp of authenticity on back, 7x7", $200/400. CourtesyBushwickFarms FamilyArchive.

128. Shirobayashi, Kiriko, Untftled( I 0 lines), 2004,AP, C-print, signed in pen on

back of print, 20x20", $400/800. CourtesyDe SantosGallery,Houston,TX.

129. Lee, Russell, Couplesat a Square Dance,McIntoshCounty,OK, 1940, 1986, limited edition of 250, Dye Transfer made by Light Gallery, NYC, from original transparency, authentication stamp on back of print & signed by Tennyson Schad in pencil, 6½x9¼", $2500/3500.

130. Weeks, Eric, No PlaceUke Home, 2005, ed#2/7, C-print, signed in pen on back of print, I 9½x23½", $1000/2000. CourtesyJacksonFineArt,Manta, GA.

131. Capa, Robert, Southof St Lo, I 944, 1970s, gsp, photographer's stamp on back of print, 9x 14", $2500/3500.

132. Waplington, Nick, Untitled,from UvingRoomseries, 2006, C-print, signed in pen on back of print, S¼x 12", $ I 000/2000.

133. Shahn, Ben, CentralOhio,c. 1938, vintage, gsp, FSA stamp, neg #6585M3 on back of print, 6¼x9'/2", $4000/6000.

134. Hosoe, Eikoh, Kama~achi#I 2, 1968,c. 1999,gsp, signed in pencil on front of print, 7½x 12", $2000/2500. Courtesy Howard GreenbergGallery,NYC.

135. Parks, Gordon, Ingrid Bergmanat Stromboli,1949,printed later, gsp, signed in pencil on back of print, 8½x9¼", $3500/4500. CourtesyHoward Greenberg Gallery,NYC.

136. Connor, Linda, Vishnu+ Consort, Kbalspean,Cambodia,2000, printing out paper w/gold chloride, signed in pencil on back of print, Bx IO", $1200/ 1800.

137.Sassman, Lillian, BarbaraMullen,Le Pavillon,NY,Harper'sBazaar,1950s,printed & reinterpreted 1994,AP,gsp,signedin pencilon back of print,20x16",$2500/3500.

138.Uelsmann, Jerry N., Untitled(porpoise inYosemite),1992,gsp,signed in pen on back of print and front of mount, I4x I I", $ I500/2000.

139.Modica, Andrea, Treadwe/(NY,21. 200 I, ed/1-3/20,platinum/palladium,signed in pencilon front of print, IOx8",$ I500/2000. CourtesyEdwynnHoukGallery,NYC.

140.Vishniac, Roman, FiveGirlson Steps, c. I 93 7, printed later,gsp,estate stamped with MaraVishniacKohn'ssignaturein pencilon back of print, I I¼x IO¼",$3000/4000.Courtesy MaraVishniacKohn+ HowardGreenberg Gallery,NYC.

141.Sudek, Josef, The OldRomanesque PaloceinThe Cnstle,Prague,c. 1948,gsp, photographer'sstamp + notations in pencilon back of print,6½x4¼",$4000/6000.

142.Sacabo, Josephine, LasPalomas,2005, ed#S/30,toned gsp,signed in pencilon back of print,24x20",$1500/2000.Courtesyjohn StevensonGallery,NYC.

143.Ling, Elaine, TharDesertJourney,India, 2004,ed#2/28,gsp,signed in pencilon back of print,22¼x 17½",$750/ 1500.CourtesyDe SantosGallery,Houston,TX.

144.Munkacsi, Martin, Europe,1924-34, printed later,AP,gsp,signed in pencilby his daughter Joan Munkacsi,I2½x9½", $ I000/2000.CourtesyJoanMunkacsi+ Howard GreenbergGallery,NYC.

145.Meiselas, Susan, TroditionalIndian

DanceMask fiomTownof Moninbo,AdoptedI,; the RebelsDuringthe RghtAgainstSomozato CnncealIdentity,/978, 2005,C-print,signedin pencilon back of print,8¼x 12½", $ I000/2000.

146.Hine, Lewis, Bil/May.Mississippi, /9/ /, 1915,gsp,dated w/annotation in pencilon back of print,4¼x6½", $2000/3000.

147.Klein, William, AtomBambSky,NY, I 955, printed later,gsp,signed,tided,& dated in pencilon back of print, I2¼x 18", $4000/5000.

148.Kertesz, Andre, Untitled(New York), c. 1966,gsp,signedin pen and artist's stamp on back of print,6½x9½",$4000/5000.

149.Adams, Ansel, Silverton,Cn/orado,/951, 1974,ed#BI/ I I0, gsp,from a portfolio of I0 prints by Parasol Press, signed in pencil on front of mount and stamped on back,

IS¼x 19½",$6000/8000.

150.Haviv, Ron, Darfur2005,2005,ed#l/5, C-print,signedin pen on back of print, I6x20",$ I000/2000.CourtesyHastedHunt Gallery,NYC.

151.Rothstein, Arthur, DustStorm, GmmaranCnunty.Oklahoma,1936.printed later, ed#229/300,gsp,signed in pencilon front of print, I9x 19",$2500/3500.

152.Berman, Zeke, Husk,from My Terrain series,2004,AP,C-print,signedin pen on back of print, 19xl3¼",$1500/2000.

153.Adams, Shelby Lee, The Purse,2005, ed#2/25,gsp,signedin pen on front & back of print, ISx 16¼",$800/ 1200.

154. Weegee, Untitled (carrying man on stretcher), c. 1937, gsp, photographer's stamp on back, 8¼x6¼", $2500/3500.

155. Brassa-;, Girl Playing Snooker, Montmartre, I 933, 1973, print #4 of Portfolio #50 published by Witkin-Berley, gsp,Witkin-Berley Brassai portfolio label with print # in pen of back of mount, I l¼x9½", $6000/8000.

156. Fauer, Louis, Union Square with Hangers, NY, I 948, I 980, gsp, signed in pencil on back of print, 8¼x5½", $3000/4000.

157. Dugdale, John, As I Struggle to Understand, Stone Ridge,NY, 2002, ed#2/l 2, Albumen print, signed in pencil on back, 9½x7½", framed, $1500/2500. Courtesy ClampArt, NYC.

158. Newton, Helmut, Dressed Fashionwith Mirror, FrenchVague,Paris, 1996, unique Polaroid, signed in pencil on back of print, 3¼x3", $7000/9000.

159. Bernhard, Ruth, Draped Torso, 1962, vintage, gsp, signed in pencil on front & back of mount, I 2¼x8", $6000/8000.

160. Platon, Neil Young,2005, digital Cprint, signed in pen on back of print, I4x 11", $1500/2000.

161. Roth, Harold, Flatiron Building, I 946, 1994, gsp,signed in pencil w/ photographer's stamp + date on back of print, I31/,x IO½", $2500/3000.

162. Smith, Mickey, Power,2006, ed#3/25, archival inkjet, 46x30", $800/1200.

163. Epstein, Mitch, Cochin,India, 1981, color coupler print, signed in pen on back, 22x29", framed, $ I 000/ 1500. Courtesy Robert Burge, NYC.

164. Schoeller, Martin, Gymnasts, 2000, charity ed#3/20, digital C-print, signed in pen, I 5½x23", $1200/1800. Courtesy Hasted Hunt Gallery,NYC.

165.Alt, Henyck & Vajd, Aleksandra, No Audible Dialogue,2006, ed#2/5, diptych, archival inkjets, signed in pen on back of prints, each I 4x 18", $500/1000.

166. Singha!, Rishi, Div, 2006,AP, archival inkjet, signed in pen on label on back of print, 20x25", $400/600.

167. Hawkes, Pamela Ellis, No Place Like Home #II, 2004, limited ed#2/25; toned gsp, signed in pencil on back of

print, I 5x 19", $500/750. Courtesy Pepper Gallery,Boston,MA.

168. Goldsmith, Lynn, Sting,London Park Bench, I 982, printed later, ed#2/20, gsp, signed in pen on front of print, I 5¼x23", $ I 000/2000. Courtesy Ellen Nives.

169. Chen, Howard Henry, Han and her Dragon Fruit, 2006, ed#4/ I 0, archival inkjet, signed in pencil on back of print, I 6x20", $6001800. Courtesy Martha Schneider Gallery,Chicago,IL

170. Robinson, Lisa M., Emergence, 2006, ed# I /25, C-print, signed in pencil on back of mount, 20x24", $600/800.

•••171 Frank, Jona, Aaron,ChessClub,NJ, 2005, ed#6/l 2, C-print, signed in pen on back of mount. 22x 18", $800/ 1200.

172. Slota, Gerald, Untitled (boy and girl on swing),2005. gsp, signed in pencil on back of print, I 0x8", $800/ 1200. Courtesy Hasted Hunt Gallery,NYC.

I73.Almog, Lili, Outdoor Portrait#/, 2005, ed#3/l 5, C-print, signed in pen on back of print, 20x 15", $1000/2000. CourtesyAndrea Meis/in Gallery,NYC.

174. Atkinson, Caitlin, Confirmation, 2006, C-print, signed in pen on back of print, I 0x8", $600/ 1200. CourtesyFaley Gallery,NYC.

175. Witkin, Christian, Tom Gold,Birch TreeAlley,LI., NY,2004, 2006,AP. archival

chromogenic print by Carol Fonde, signed in pen on front of print, 20xl6", $750/1500

176. Porter, Liliana, Dialogue with Blue Mug, 2006,AP from an edition of 5, archival inkjet, signed in pen on a label,

I 6½x 12½", $1500/3000. CourtesyHas(e/t Gallery,NYC.

177. Scott, Zachary, Untitled, (bowling alley in the California mental institution on which One Flew Over the Cuckoo'sNest was based}, 2005, ed#l/3, C-print, signed in pencil on back of print, I 9¼x 15", $300/600.

178. Morrison, Stacy Renee, Diana, 2004,AP #2/2, C-print, signed in pen on back of print, 23x 19", $800/ 1200. Courtesy Und Gallery,San Francisco,CA.

179. Roy, Norman Jean, Red Hot Chili

Peppers,2002, AP.gsp, signed in pencil on back of print, 20x 16", $3000/3500.

180. Farber, Robert, Quiet Roam (from National BeautyFarberNudes), 2006, archival inkjet on Somerset paper, signed in pencil on back of print, I 2x 17¼", $ I 000/ 1500. CourtesyYargerFineArt, Beverly Hills, CA.

181. Harris, Phil, LisbonExpo #I, 2000,

platinum/palladium, signed in pencil on back of print & back of mat, 4x5", $250/500.

182. Kleitsch, Chad, ConnecticutValley Hospital,Theater,1999, 2006, charity ed# I /1, archival inkjet, signed in pen on back of print, I 7½x22", $500/750.

183. Dunkerley, Susan, SangIn My Heart, 2000, ed#6/ 15,gsp, signed in pencil on back of print, I 2¼x 16¼", $250/500.

184. Skvirsky, Karina Aguilera, SilverRanch/Falluja,2005, AP. C-print, signed in pen on back of print, I 4x I I", $400/600.

185. Peirone, Julia, Lawn Chair,2002, charity ed# I/ I 0, C-print, signed in pen on label on back of print, 8x9½", $300/600. CourtesyDaniel CooneyFineArt, NYC.

186. Tyler, Laura Gail, Untitled (sugar bridge, 2000), 2006, charity ed# I /20, gsp, signed in pencil on back of print, I0xI21/,", $400/800.

187. Dentino, Catherine, Untitled (Brian, bike}, 2005, C-print, signed in pen \' I\ on back of print, I lxl4", $250/500. I,•. ,. ) 1\ i-' ,,

• t as.Klapstock Lisa, *5 BeatriceStreet, 2001-2002,AP. C-print, signed in pen on back of mount, I 7½x 17½", mounted, $ 1500/2000. CourtesyJessicaBradleyArt + Projects,Toronto,Canada.

189. Panas, Lydia, PoolMistress,2005, charity ed#2/5, archival inkjet, signed in pen on front of print, 8x8", $250/500.

190. Milstein, Jeffrey, Boeing747-400#8, 2005,AP from an edition of 15, pigment inkjet, signed in pencil on back of print, 20x20", $750/1500. CourtesyPaulKopeikin Gallery,LosAngeles,CA

191. Matthew, Annu Palakunnathu, Memoriesof India- CycleShadow,1990s, ed# I /I 0, gsp, signed in pencil on front of print, 5x5", $600/800. CourtesySepia InternationalInc.,NYC.

192. York, Torrance, N41° 46.557' W073° 50.863'10/17/01,441 (i.from FunctionalGroundseries, 2005, ed# I/ I 0, Cprint, signed in pen on back of print, I 8x 18", $5001750.

193. Kramer, Daniel, BobDylan+ Sally Grossman,Woodstock,NY,from BringingIt All BackHome album cover, I965, 2004, Fuji Crystal Archive, signed in pen on front & back of print, I 5x 15", $1500/2000.

194. Robbins, Saul, Study,2003,AP. Cprint, signed in pen on back of print, 11x 11", $150/300.

195. Allen, Stuart, Rock#4 - 9 Pixels, from Bajaseries, 2006,AP. archival inkjet on Somerset Velvet paper, signed in pencil on back of print, I 6x 16", $1000/ 1200. Courtesy PhotographsDo Not BendGallery,Dallas,TX.

196. Day, Catherine, WattslynneMotor Lodge,1999, limited ed#S/25, gsp, signed in pencil on back of print, I 8¼xl 9", $800/1200.

197. Diaz, Esteban Pastorino, Saliquel6 (FI00 AZUL),2000, ed# I/ I, C-print, signed in pen on back of print, 5x3 I½", $800/1200. CourtesyPhotographsDo Not BendGallery, Dallas.TX.

198. Phelps, Brent, CannonBeach,Oregon, December30, 2001,2004,AP #I, C-print, signed in pen on front of print, I 2x36", $1500/2000. CourtesyGeraldPetersGallery, Dallas,TX.

199. Sheng, Jeff, Hangzhou,China,(My grandfather'smemoryofhis childhood, a bridge that neithergoes forwardnor back),2004, charity ed# I /20, archival inkjet, signed in pen on back of print, 7¼x44", $200/400.

200. Nash, A. Leo, SilverPyramids,from the TemporaryAutonomousZones series, 2005, ed#2/25, Epson Archival, signed in pencil on back of print, 20x40", $500/1000.

20 I. Marc, Stephen, Untitled,from the UndergroundRailroadseries, 2005, archival inkjet, signed in pen on front of print, 9x26", $800/1600.

202. Cray, Fred, Untitled,from Labyrinth series, 2006. ed#2/2, archival inkjet, signed in pencil on back of mount, 8x20", $ I 000/ 1500. CourtesyJanetBorden,Inc,NYC.

203. Ueshina, Toshi, Woodstock,NY,2006, archival inkjet, ed# I /250, signed in pencil on front of print, 11½x36", $500/ I 000.

204. Lebe, David, Susan,YellowDress, VacantLot,Philadelphia, I 973, 2006. ed#2/20, archival inkjet, signed in pen on front of print, 3½xl 7½", $600/1200.

205. Frese, Lynda, Lord Shivaon Gulf Coos, 2006, ed#2/25, archival inkjet, signed in pen on front of print, I3½xl I", $200/400.

206. Fellman, Sandi, Seahorse#22, 2004, AP,gsp, signed in pen on back of print, 8½x4½", $800/ 1200. Courtesy EdwynnHouk Gallery,NYC.

207. Orkin, Louise, CountryGate, 1985, one of a kind, gum dichromate, signed in pencil on front of print, I 2¼x8½", $400/600.

208. Squillante, Joseph, Untided (Woodstock, NY), 2006, ed# I /25, gsp, signed in pencil on front of mount, I O¼x7¼", $400/600.

209. Cheng, Peikwen, less Than Zero # 11, 2006, limited ed#S/25, digital C-print, signed in pencil on back of print, I 9½x29¼", $800/ 1200.

210. Adams, Ruth, New Harmony,200 I, archival inkjet, signed in pencil on front of print, 21¼x 14", $300/600.

211. Williams, John M., Tate,Georgia, 1974, ed#29/30, gsp, signed in pencil on back of print, 9½x7½". CourtesyBill Mind/in, NYC.

212. McCurry, Steve, Monk, Kham,Tibe, I 999, 2006, archival inkjet, signed in pen on back of print, 20x 16", $2,000/3,000.

213. Swanson, Rebecca, White Calla, 2006, charity ed# I /25, archival inkjet, signed in pencil on front of print, I I ¼x 12", $400/800.

214. Johanson, Sandra, Dogs/Houses, 2006, printing out paper, signed in pencil on back of print, 3'/4x5¼", $400/600. Courtesy SarahMorthland Gallery,NYC.

215. Evans, Susan E., PanoramicViewsMaquettes,2006, ed# I /3, archival inkjet, signed in pencil & embossed on front of prints, I 6 pieces each at I ½x20", $ I 000/2000. CourtesyWM. Hunt

216. Kleinhans, John, Re~ections,NYC, 2006, archival inkjet, signed in pencil on front of print, I O¼x 16", $250/500.

217. Belanger, Marion, Untided(hot spring w/foliage), I998,AP, gsp, signed in pencil on back of print, I 3¼x 17", $800/1200.

218. Barker, Joan, Marsh Sunset I &2, BethanyBend,DE,2005, diptych, 2006, archival inkjet, signed in pencil on front of print, 6½x IO" each, $250/500.

219. Kuo, Nina, Hong KongVendorSurprise (dots),2003, photo emulsion on cotton fabric with paint, signed on back of print, 11½x I 5", $250/500. CourtesyChina2000 & Pierogi,NYC.

220. Bowen, Robert, john WayneStory, 2005,AP, archival inkjet, signed in pencil on back of print, 9½x 16", $400/800.

221. Tan, Noelle, Drawing II, 2003-2005, ed#4/ I 5, gsp, signed in pencil on back of print, I 6x20", framed, $600/900.

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.

• a-1-r

When an artist-in-residence is here working at the Center for Photography at Woodstock, creating new images, testing fledgling ideas, and pushing their artistic visions into uncharted territories, CPW truly fulfills it's role as an artistic home.

Since 1999, we have provided 40 artists-of-color from across the United States with time, space, technical, and critical support. Spending between two and four weeks here in Woodstock, they have worked in the darkroom, accessed the library, used the digital imaging station, and taken advantage of a region that has inspired artists for over one hundred years.

An artist workspace residency* serves as a catalystic experience in which the participating artist is given the rare opportunity to focus on their ideas, their craft, and their artistic direction with direct techincal and critical support. The result of such experiences can yield the creation of artwork that represents significant strides for the individual artist's growth. The following pages are filled with work by photographers whose imagery and ideas invite us to see the world anew through their various explorations in the medium of photography. ENJOY!

CPW's 2004 & 2005 residency program was made possible in part with generous support from the Milton & Sally Avery Foundation for the Arts, the National Endowment for the Arts, the New York State Council on the Arts, a state agency, and the Andre & Elizabeth Kertesz Foundation.

*The Center for Photography at Woodstock is a member of the New York State Artist Workspace Consortium, a group of IO artist-centered organizations dedicated to providing professional artist workspace and access to techinical and critical support. To learn more, visit www.nysawc.org

Top Row (L-R): KensethArmstead, Deborah Bay,Tulu Bayar,Terry Boddie, Howard Henry Chen

Second Row (L-R): Margarida Correia, Isaac Diggs, SusanE. Evans,Myra Greene, Kira Lynn Harris

Third Row (L-R):Yancey Hughes, Dorothy lmagire, Priya Kambli,Juri Kim, Nina Kuo

Fourth Row (L-R): Isabelle Lumpkin, Stephen Marc, Marlo Marrero, Charles Martin,Annu Palakunnathu Matthew

Fifth Row (L-R): Felicia Megginson,Natasha Moustache, Karina Aguilera Skvirsky.KeishaScarville, Xaviera Simmons

Sixth Row (L-R): Sun-JooShin, Rishi Singhal,Kwabena Slaughter,Yoshi Sugitatsu,Kunie Sugiura

Seventh Row (L-R):Noelle Tan, Mayumi Terada, Danny Tisdale, Hong-An Truong,Toshi Ueshina

Eigth Row (L-R): Preston Wadley, Martin Weber, Vagner Whitehead, Moonching Wu, Soon-Mi Yoo

margarida corriea

SAUDADE

Saudade is a project about the relationship between people born in 1972 and heirlooms or objects of personal use held in sentimental regard. These objects, assumed to be ephemeral and subject to the vicissitudes of time, have somehow lasted to the present day.

Each piece is represented by three photographs: a portrait of the contemporary subject wearing the object, a reproduction of the old photograph of the original owner with the same object, and a photograph of the object alone, against a black background.

These triptychs evoke the transition and evolution of time, memory, representation, usage, and the relationship between generations embodied by small, often unnoticed objects.

© Margarida Correia, Untitled,2004, 35x35", C~print

Margarida Correia earned her MFA in Photography and Related Media at the School ofVisual Arts in NYC, and a BA in Visual Arts from the School of Technologies,Management, Arts, and Design at Caldas do Rainha in Portugal. She has exhibited her work in NYC at A.I.R. Gallery, Brent Sikkema, and Debs & Co.Additional venues include the Griffin Museum of Photography in Winchester, MA; the National History Museum in Lisbon, Portugal; the Andre Viana Gallery in Madrid, Spain; and the 1999 Biennial of Young Artists from Europe and the Mediterranean in Rome, Italy. Correia received the Aaron Siskind Award and was an artist-in-resident at the Center for Photography at Woodstock in summer 2005.

© Margarida Correia, Untitled,2004, 35x35", C-print

kira lynn harris

My primary interest is in light, space, perception, and the sublime. I look to contemporary movements such as Land Art and Light and Space Art as well as landscape painters including the Hudson River School, Turner, and the abstractionist Mark Rothko. My projects in photography, video, and sound, as well as site-specific installations, often provide a disorienting experience for the viewer. In my installations I am concerned with de-stabilization and reorientation. To achieve this I often create architectural and environmental interventions -by using light and reflective surfaces; by inverting subject and object, or figure and ground; and/or by reversing up and down, exterior and interior.

I pursue these concerns in photography and video by capturing fleeting moments of natural as well as artificial light and color. The results include several different series of photographs of architectural and light elements, which began from my building and exploration of installation environments. I use abstraction, rather than strict representation, aiming for a de-stabilizing of images and by extension, the certainties of those who view the images.

Kira Lynn Harris, a native of California and graduate of California Institute of the Arts, has lived in NYC since completing the Whitney Independent Study program in I 999. In addition to her residency at CPW in the summer of 2004, Ms. Harris has participated in residencies at the Delaware Center for Contemporary Art,Art Omi, and the Lower Manhattan Cultural Council residency program at the World Trade Center. She has exhibited her work widely in galleries and museums in the US and Europe, including CPW, the Studio Museum in Harlem, Exit Art in NYC, and California Institute of the Arts. This past summer the Bruno Marina Gallery in NYC presented Ms. Harris' first solo exhibition, Eva Slept Here, featuring images from her residency at CPW Her work has been reviewed in Time Out NY, Los Angeles Times, Art in America, and The New York Times.

© Kira Lynn Harris, Bedroom /, White Pines,Byrdcliffe, 2004, 20x20", digital C-print

marlo marrero

MY LATINASELF I MY OTHERSELF

I am bi-racial, and my photographs speak to aspects of that dual identity. Half of these images were shot in the Caribbean, where the community of Los Dajaos helped me to foster a heightened understanding of my Latina-self.The other images were taken at my family's home in Connecticut in the areas of Farmington, Hartford, and Bristol, the town where I was born.

While I was in the Caribbean, I wanted to understand my connection to Latina culture. I decided to be in front of my camera, a less familiar vantage point, so that I could be truly immersed in my new environment. As both photographer and subject, I learned to exist on both sides of my camera and made photographs of the authentic self and the constructed self. Some images are blurred to signify creation, clarity of being, and my emergence both spatially and culturally. In other photographs my subjects are sharply focused, an effort to solidify the concept of physical immersion in this culture space. These moments are manipulated by camera techniques to create the illusion of time, either as slowed or accelerated.

© Marlo Marrero, Creer en Marrero/ To Believein Morrero,Losdo Joos, DomincanRepublic,2005, 20x24", archival inkjet

When I got back to Connecticut I used the same process and camera techniques to make my pictures. I expected the Connecticut images to present a stark contrast from those in the Dominican Republic. Yet, aside from the topographic differences, there was little distinction between the two portfolios. The strange similarity of these two bodies of work reframed my view of what I consider home, how I think about my community, and brought me to a new understanding of my reality.

Marlo Marrero received her BFA from the University of Connecticut and her MFA from University of Hartford. She currently lives in Connecticut, where she is a working artist and teacher of photography at Miss Porter's School in Farmington. Marlo has shown her work extensively throughout Connecticut at galleries including Real Art Ways, Miriam Butterworth Gallery, EBK, and Benton Museum, as well as at venues across the US including the Guggenheim Gallery at Chapman University in Orange, CA; Museum of the Southwest in Midland, TX; Silver Eye Gallery in Pittsburgh, PA; and the Photographic Resource Center in Boston, MA. In addition to her residency at CPW in summer 2005, Marlo was awarded a Visual Artist Grant from the Connecticut Commission on the Arts in 200 I and a fellowship from Art Matters Foundation, NY in I 995.

© Marlo Marrero, Mufiecasdef Campo! CountryDolls,Hart(ord,CT,2005, 20x25", archival inkjet

natasha moustache

© Natasha Moustache, Untitled,2003, 20x24", gsp

The monumental structures that make up the Lowell Mills complex, once a thriving center of industrialization in Massachusetts, are now nothing more than eyesores clinging to the periphery of a city that once thrived upon their mere existence. Over the last century the fast pace of technological advancement has out-moded many systems of production, leaving them and the structures that housed them, discarded and abandoned. Yet, in the wake of their disintegration there remains a story to be told.

With this work, I sought to recognize the significance of these textile mills and the families that spent their entire lives living and breathing within their walls. The Lowell Mills were once the homes and working grounds of thousands of immigrants, mostly Irish and Polish, who came to America with hopes of earning money and returning to their families and homelands. Few made it back. Mothers, fathers, and children often worked twelve-hour days in hazardous conditions for pennies a day. I photographed these buildings to suggest those people, their stories, and their lives, forever embedded in the factory walls.

Nastasha Moustache grew up in San Jose, CA and moved to Boston to attend Simmons College in 2000. She graduated in 2004 with a BA in GraphicDesign and Photographyand participated in CPW's artist residencythe followingsummer of2005. She now resides in Dorchester,MA and works as a freelance photographerin Boston

© Natasha Moustache,Untided,2003, 20x24", gsp

© Natasha Moustache,Untitled,2003, 20x24", gsp

rishi singhal

Today our world is changing at a pace unparalleled in human history and the conditions of states around the world are getting re-defined by constantly shifting social, political, and economic forces. In my work I investigate both natural and built environments and their interrelationship. I am particularly drawn toward certain transient zones within urban environments, where dualities of chaos and order, death and revitalization, and spectacular and banal constantly refer to our transforming world, both physically and metaphorically.

I started this work in 2004 to make typological studies in several European cities. My most poignant experience was in India where I saw that the harmony between the city's form and the surrounding rural landscape was being constantly compromised by massive sub-urbanization, migrant influx, and heightened public consumption. Linked by the concept that few places in this world have been spared the indelible stamp of some form of human intervention, I began taking photographs of former industrial sites in New York's Catskills in 2005. A similar re-negotiation of the landscape, economics, and social planning exists in the once prosperous region.

What is left behind? Maybe a lot more than abandoned factories and warehouses. Decay moves fast. One can see it in the few downtown pubs on Friday nights or Monday afternoons. But here I chose to be rather selective in my mappings, with an

© RishiSingal,Kingston,2005, 20x25", archivalinkjet

attempt to document the 'present' based on the signifiers of the 'past' without being seduced by the inherent phantasmagoric charms of antiquity. These often overlooked voids, in their splendid disunity, mirror the alienation and vulnerability of our society. The buildings also reveal the various layers of time endured by a place; as if enshrining a conversation between death and desire.

My photographs are not statements of any kind, but rather enquiries into the complexities of living in our present environment.

Rishi Singal, a native of India, has been living and working in upstate New York since attending Syracuse University where he completed his MFA. His work has been shown at venues in China, India, and will be featured in an upcoming show at Light Work in Syracuse. Rishi has presented talks at Ithaca College, Syracuse University, the 2003 SPE convention, and will be lecturing at the FoggArt Museum of Harvard University later this year. In addition to his residency at CPW in 2005, Rishi has been honored by grants and fellowships from Syracuse University, SUNY College at Brockport, and most recently, Light Work.

© RishiSingal,Kingston,2005, 20x25", archivalinkjet

tosh uesh1na

© Toshi Ueshina, Canopy, Honea Path, South Carolina, 2005. I I 1/1x32¾",digital pigment print on watercolor paper

©Toshi Ueshina, Planets,2005, I I 1/1x32¾",digital pigment print on watercolor paper

© Toshi Ueshina, More Blood, 2005, 11½x27½", digital pigment print on watercolor paper

The practice of photography is my means of personal and spiritual cultivation. In my journeys and daily life making photographs of my surroundings is a contemplative and poetic process. The images I make address those things that I can sense when deeply, narrowly, and secretly tuned into the heart of my experiences.

Toshi Ueshina, who completed his residency here at CPW in the summer of 2005, is an artist and teacher based in Charlston, South Carolina. After receiving his MFA in photography from Arizona State University, he went on to exhibit his work in galleries across the country including Light Factory Gallery and Penland Gallery, both in North Carolina, Period Gallery in Nebraska, and the George Eastman House in New York. His photographs are in the permanent collections of Third View Projects in Tempe, AZ, North light Gallery also in Tempe, Gallery Dot, as well as Honenin Gallery both in Kyoto, Japan, and here at CPW Toshi continues to work on individual, collaborative, and research projects that involve techniques that range from digital imaging to 19th century photographic processes.

©Toshi Ueshina, Fish,Brooklyn,New York,2005, 11½x27½",digital pigment print on watercolor paper

© Toshi Ueshina, Horse,Woodstock,New York,2005, I I 1/lx27½", digital pigment print on watercolor paper

martin weber

A MAP OF LATIN AMERICAN DREAMS

I began this series in 1992 out of the need to explore the field of human dreams, to return to the daily ritual of desires, contrasting our real situation with an ideal one. I want to engage that moment when we imagine our lives transformed by a desire fulfilled, with a new situation, even a new identity. I invite people to write their desires and aspirations on a chalkboard, to express and include their own perspective through their dreams. By participating in their own portrayal, they reveal themselves in their own language, retaining power over how they are represented, and retaining authority over their claims.

Now is a crucial time to represent what is being left unattended: the evolution of another crisis in Latin America. In countries whose history has long been intertwined with corruption and injustice, the middle class is currently being pushed into poverty by rising unemployment, and campesinos are being forced again to migrate into the cities, moving from poverty into misery. The concentration of wealth is growing and the gap between the poor and the rich is being stretched. The conditions that create the pattern of cycles involving social fragmentation, political violence, and instability are rising. I want to challenge the view of a static inevitable poverty and sudden seemingly capricious violence. There is a middle ground, which is ignored: struggling individuals seeking a better future in peace, trying to overcome not poverty but impoverishment.

© Martin Weber, SerAbogada(To be a lawyer),La Nina.Argentina,2004. 19x23", gsp

Dreams are not commodities, countries and continents are not means of trade, and the histories of our communities need to be represented. Continuing to believe in our dreams is a way to transcend our condition, and overcome our history and literal situation. Our destiny may only be changed if we allow ourselves to imagine a destiny different from that which we were given.

A resident at CPW in 2004, Martin Weber, was born in Chile, raised in Argentina, and currently resides in Brooklyn, NY. He studied at the University of Buenos Aires and the International Center for Photography in NYC. A 1998 Guggenheim fellowship recipient, Weber has also been awarded two Hasselblad Foundation grants and a prestigious National Endowment for Arts grant. Martin's work has been exhibited in the US at venues including CPW, Lightwork's Robert Menshel Gallery in Syracuse,International Center for Photography in NYC, The Museum of Fine Arts in Houston, the Project in NYC and LA, and abroad at the Photographer's Gallery in London, the Museo Nacional de Bellas Artes in BuenosAires, the La Habana Art Biennial in Cuba, the Mois de La Photo Maison de L'Amerique in Paris, and Communa de Milano in Milan. Lightwork published A Map of Latin American Dreams in Contact Sheet issue #I 25. In 2006 Martin was honored as one of two inaugural recipients of the No-Strings Foundation Individual Artist Grant.

© Martin Weber, Carino(Affection),MaclovioRojas,Mexico-USAborder,2004, I 9x23", gsp

soon-mi yoo

These images emerged from my travels in South Korea to sites that were relevant to significant female figures in Korean history. I was working on a book project, which uses the narrative structure of time-travel to explore female heroes of multiple eras, their stories, and their history. The places I visited reminded me of the "appointments to keep in the past" (W. G. Sebald) and the invisible connection with the far side of time. Scheduled for publication in Korea in 2007, the book will include essays written by the Korean author, Kim Hyuna to contextualize the photographs.

SOON-Ml YOO, born in Seoul, Korea, emigrated to the US in 1990, a~er studying German Literature atYonsei University. In the states Soon-Mi studied both still photography and video at the University of Washington Extension, where she completed a Film and Video Certificate Program in I 991, and at Massachusetts College ofArt, where she earned an MFA in I 999. She has exhibited her work both nationally and internationally at numerous galleries including Silver Eye Center for Photography in Pittsburgh, PA; Northwest Film Forum in Seattle, WA; Seattle Art Museum in Seattle, WA; the International Center for Photography in NYC; the Photographic Resource Center in Boston, MA; and in our own galleries at CPW She has participated in International Film Festivals from Rotterdam to Seoul, and from Hawaii to Seattle. A resident with CPW in summer 2004, Soon-Mi has also received fellowships from Yaddo, the Macdowell Colony, and most recently from the Rockefeller Foundation.

© Soon-MiYoo, Tothe Queen'sGrave,Kyungju,Korea,2004, I Ox12",archival inkjet

© Soon-Mi Yoo, Train Station,Korea,2005, 8x 12", archival inkjet

© Soon-Mi Yoo, Queen Sunduc'sGrave,Kyungiu,Korea, 2004, I Ox 12", archival inkjet

noted books

All books listed are available at CPW's library, which is open to the public, Wed - Sun, 12 - 5 pm and by appointment.

Andre Kertesz, photography by Andre Kertesz edited by The National Gallery of Art in Washington, Princeton University Press, 2005. Donated by Robert Gurbo.

Andreas Schmidt: Las Vegas, photographs by Andreas Schmidt, essay by Christoph Ribbat., Hatje Cantz Verlag, Germany; 2005.

Architecture of Silence: Cistercian Abbers of France, photographs by David Heald, text by Terry N. Kinder, Harry N. Abrams, Inc. Publishers, 2000.

Builder Levy: Photographer, photographs by Builder Levy, essays by Naomi Rosenblum and Walter Rosenblum, afterword by William Bartman. donated by Art Resources Transfer, lnc.A.R.T. Press, NYC; 2005.

California Dreamin': Camera Clubs and the Pictorial Photography Tradition, exhibition and catalog by Stacey Carrolf, introduction by Kim Sichel, Boston University Art Gallery, 2004.

Create and Be Recognized: Photography on the Edge, John Turner and Deborah Klochko, essay by Roger Cardinal, Chronicle Books, San Francisco, CA 2004.

Faces, photographs by Philip Trager, text by Alastair Reid, C. K. Williams, Jalaluddin Rumi, John Ashbery, Adrienne Rich, large Luis Borg_es,Rainer Maria Rilke, David St. John. Steidl l'ublishers; 2005.

Friday Night Grind: Bourbon Street, New Orleans, photographs by Jackie Brenner, forward by George De Wolfe, introduction by Josephine Sacabo, Shine Media Group, Italy; 2006.

The Greek File: Images from a Mythic Land, photographs by William Abranowicz, introduction by Edmund Keeley, essay by Henry Miller, Rizzoli International publications, Inc., NYC; 200 I. Donated by Jeff Milstein.

Gueiko e Maiko, photographs by Margarida Correia, text by Lucia Marques, Centro de Cultura Contemporanea, Torres Vedras; 2005, soft cover, color photographs. Donated by the photographer.

In The Bright Room, photographs by Mayumi Terada, Kyuryudo Art Publishing Co., Tokyo, Japan, 2003. Donated by the photographer.

Industrial Perspective: Photographs of the Gulf Coast, photographs and text by Andrew Borowiec, The Center for American Places, Inc., Santa Fe, New Mexico; 2005.

Land of Milk and Honey, photographs by Paul Kranzler, texts by Paul Kranzier and Stella Rollig, Lentos Museum of Modern Art Linz in cooperation with Fotohof, Austria; 2005,

Nicaragua: A Journey to Remember, J)hotographs by John Bernard, introduction by Father Marco Dessy Perria, The Nicaraguan Children Texas Benefit Fund; 2002.

One Step Beyond, a project by Lucas Einsele,edited by Catherine David with the Center for Contemporary Art, Hatje Cantz Books, Germany; 2005. Donated by the photographer.

Greetings From the Salton Sea: Folly and Intervention in the Southern California Landscape, 1905-2005, by Kim Stringfellow, Center for American Places, Santa Fe, New Mexico, 2005, 135 pages.

At first glance, Greetin_psfrom the Salton Sea, Kim Stringtellow's publication, is magnetic.The cover depicts an enlivened and radically unique image of phosphorescent decay,and practically screams for attention. However Stringfellow transcends the potentially hazardous content to create a stimulating and provocative work, both accessibleand attractive in its vibrant, hardcover package.

Stringfellow's work deserves the intrigue it inspires,and succeeds in satisfyingany potential angle of inquiry. Her story is a history, an archive, and an explanation of I 00 years of happeningsrelative to the area. The format, reminiscent of a hip textbook, effectively achieves a balance between Stringfellow's selected mediums. She draws us into this distant and seeminglyuntouchable land with her photographs and unravelsthe area'smystery with her explanations.

From her writing, we learn that the Salton Sea is both a natural and man-made phenomenon. Born in the early I 900's as a combination of human mechanisms in conjunction with cataclysmic floods, it has undergone a series of makeovers.The 30's and 40's saw it used as a testing ground for depleted uranium, and eventually served as the original test site for the Atomic Bomb in 1942. Paradoxically,the 60's saw tourism flourish, at times exceeding the number of visitors to Yosemite National Park.

The Salton Sea has evolved through many different phases,and Stringfellow leads us through these and onward into the present situation. Her environmental photojournalism takes the reader on a rare journey through this deteriorating landscape.Whileexposing the area's decay in hopes of preserving the land for nearly 400 species of migrating birds, she simultaneously idealizes the corrosion. Her images portray a vibrant though abandoned terrain, littered with skeletons of the former synthetic "paradise;' all exposed beneath natural light. She also includes various organic artifacts, such as fish bones,feathers,dead tilapia,and even a snow goose carcass.She refers to these relics as beautifullyravagedby the harsh desert elements,and successfully reveals their innerently delicate magnificence.

Stringfellow's depiction of the Salton Sea is reminiscent of the photographer Richard Misrach's own interpretation of the same landscape. While his images are quietly haunting, Stringfellow's images reveal a vivacious terrain. Her photographs of the "New River;' which flows northward from Mexicali and into the Salton Sea,embodies this approach. It is a striking portrait of the river, surrounded by bright orange fauna,bathed in the rays of the setting sun,with an impeccable skyline providing the backdrop. Amid this colorful and breathtaking view, islandsof phosphate foam drift along peacefully,ironically enhancingthe area's beauty.

In summarizing her intent, she explains that, how we learn to balance human agendaswith environmentalnecessitieswill determinethe future not only of placessuch as the SaltonSea,but also of the planet we call home. Stringfellow's work is a captivating and comprehensive response to this dilemma and Greetings From the Salton Sea is an insightful,multifaceted, and penetrating book.

-Veronica O'Keefe, 2006

IN LIGHT SAGESOHIER

PE.RFE.CTIBLE.WORLDS

PerfectibleWorlds is a group of 65 color photographs of people with obsessions. Begun soon after 9/ I I, the series portrays people transported into worlds and activities over which they have near-total control. The photographs -made from medium-format negatives -are all environmental portraits, and range from people who make extravagant miniature worlds, to others who have extraordinary collections or who immerse themselves in unusual pursuits. Each photograph is the discovery of a particular world an individual has found or created for himself -a private world that few are privileged to see.

The series began with a picture I took of a friend working on his model railroad. Expanding over the twenty years he has owned his house, his railroad has taken over the entire basement. When he goes down to work on it, he leaves behind both his professional and family life. This kind of absorption -what we do in an imperfect world to console ourselves -struck me as a subject worthy of exploration.

We're all fascinated with other people's passions -what they do in their spare time to satisfy an inner need. These creations, collections, or activities are quirky, often beautiful, and almost always ends-in-themselves. My ambition has been to reveal the particularity and intensity of their acts and creations, and also to capture their engagement in the midst of them. Their world -for that fleeting instant, and through their generosity -becomes mine, and now perhaps, yours.

SAGE SOHIER has been photographing people in their environmentssince she graduated from Harvard University in 1976. She has been awarded many grants for her work, including a GuggenheimFoundation Fellowshipand a National Endowment for the Arts Photography Fellowship.Her work has been seen in shows at the Bernard Toole Gallery in Boston, the Museum of Contemporary Photographyin Chicago,and the Museum of Modern Art in NY. Her work has been published in New York Times Magazine, LIFE,and Discover. She teaches photography in Boston at Massachusetts College of Art and at Harvard University for 12 years. Sage Sohier's work is represented by Bernard Toole Gallery in Boston.

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

© SageSohier,Boyin his bedroomwith model of Kandahar,200 I, C-print