Post-Conference Issue Spring 1984

22.1 - Columbia Master of Arts: Photography Applications are being accepted for the Fall 1984term of study toward a College Master of Arts in Photography at Columbia College Chicago. The Columbia program emphasizes aesthetic and expressive develop­ ment; technical competence and versatility; an analytical, critical and Chicago historical knowledge of the medium and its relation to the arts. Struc­ tured advance courses are complemented by graduate seminars and independent studies under the superivison of the graduate faculty. Graduate faculty members: Columbia College encourages ma­ ture candidates and returning stu­ John Mulvany, Chairman Brian Katz dents with undergraduate or gradu­ David Avison Steven Klindt ate degrees in any discipline to ap­ Alan Cohen Lynn Sloan-Theodore i ply. CONTACT: Graduate Division, Jan Zita Grover Peter Thompson Columbia College, 600 South Michi­ gan Avenue, Chicago, Illinois The graduate faculty is supplemented by over thirty full and part-time 60605-1996. Telephone: 312/663-1600 members of the College's photography faculty and visiting artists.

Columbia College has excellent facilities for black and white, color, Full tuition fellowship available for graphic-related techniques, mural painting and laboratories for the specially selected applicants with technology-based generative systems program, Xerography and the outstanding qualifications. For infor­ commercial studio program as well as the exhibit and study program , mation contact John Mulvany. the Chicago Center for Contemporary Photography.

Master of Arts: Photography/Gallery Management

Columbia College offers a program of courses leading to a Master of Arts in Photography degree with a special emphasis on Gallery Management. The Gallery Management program uses as its prime resource the Colum­ bia College Galleries and the Col­ lege's collection of contemporary American photography. The Galle ­ ries mount 30 exhibits each year and Columbia College admits stu­ ] dents without regard to race , col­ students in the program will work or, sex, religion, physical handi­ closely in the production of these ex­ cap and national or ethnic origin hibits. The Gallery Management pro­ gr am is designed to prepare students for careers as curators, registrars, preparators, gallery di­ rectors and art center directors.

Steven Klindt, the Director of the Co­ lumbia College Galleries and the Jerry N. Uelsmann Chicago Center for Contemporary untitled © 1968 Photography of Columbia College 1982 230 will be the program's principal facul­ ty member. Klindt has been Director on extended loan to the Colum­ bia College Collection from of the Galleries since 1979 and has Sonia and Ted Bloch edited four major catalogs published by the Galleries. "I've never done it that uray before.

-Let Ille check Upton." Upton and Upton's PHOTOGRAPHY is the one book your students keep long after they've left the classroom. Because they go back to it again and again, with each new lens, filter, and technique. They count on its single­ topic, two-page spreads, its lavish, high-quality visuals, its clear, step-by­ step instructions, and the most comprehensive, up-to-date technical information available. Upton and Upton's PHOTOGRAPHY has always been the one photography book that's really used.

LITTLE, BROWN AND COMPANY 34 Beacon Street• Boston, Massachusetts 02106 Society For Photographic Education Past National Chairpersons

The Society for Photgraphic Education is a not-for­ William Parker profit educational corporation which through its Michael Simon programs and publications seeks to promote high James Alinder standards of photography and photgraphic educa­ Peter C . Bunnel tion. Membership dues in the Society are $40 per Robert Forth year; for membership information write Society for Bernard Freemesser Photographic Education, P.O. Box 1651 FDR Post Robert Heinecken Office , New York, NY 10150. Nathan Lyons

Board of Directors Regional Chairpersons Martha Strawn, Chairperson, University of North Carolina, Charlotte Mid Atlantic: Patty Carroll, Vice-Chairperson Tom Beck Andy Grundberg, Secretary University of MD Library Helmmo Kindermann, Treasurer 5401 Wilkens Ave. Eileen Berger Baltimore, MD 21228 Roger Bruce Midwest: A.O. Coleman Jerry Dell Keith Davis 454 Grandview Rd . Jean Locey Green Bay, WI 54301 Lynn McLanahan Northeast: Starr Ockenga Richard Margolis Barbara Jo Revelle 113 Cypress St. Arthur Taussig Rochester, NY 14620 Stan Trecker Northwest: Cheryl Younger Bob Lloyd University of Eastern Washington Cheney, WA 99004 South Central: Design : Ron Todd Irene Cagney Fine Arts Department Typesetting and Production: University of New Orleans Word City New Orleans, LA 70148 Managing Editor: Southwest : J.Z. Grover Tom Lamb Box 365 Leadville, CO 80461 Southeast: T Dan Biferie DBCC Gallery of Fine Arts Daytona Beach Community College P.O.Boxllll Daytona Beach , FL 32015 West Kenda North Program in Art Cover University of California Riverside, CA 92521 Connie Hatch from Desublimination of Romance

2 Post-Conference Issue Spring 1984 22.1

Contents

New Documentary 5 The Map Is not the Territory James Hugunin

16 Fighting for Jobs Judith Crawley

18 Cultures In Contention: The Docklands Community Poster Project Diane Neumaier

20 The Way We Live Now: Beyond Social Documentary Abigail Solomon-Godeau

Teaching Photography 24 Critiquing Methods for Teaching Photo I Monte Gerlach

New History 26 Art, Information, and Evidence: Early Landscape Photographs of the Yosemite Region Paul Hickman

30 Hollywoodland: The Hollywood Photographers' Archive David Fahey, Linda Rich

32 Book Reviews 35 Letter to the Editor

EXPOSURE is the quarterly journal of the Society Membership: for Photographic Education , and is a benefit of $40 membership dues for calendar year 1984 SPE membership. The journal reflects the Society 's should be sent to Society for Photographic Educa­ concerns , but opinions expressed herein are not tion, P.O. Box 1651, FDR Post Office, New necessarily endorsed by the SPE. York, NY 10150.

Supported in part by a grant from the National Institutional Subscription: Endowment for the Arts , a federal agency. Institutional subscription rate for schools and libraries is $25 yearly ($30 outside USA) : write Advertising: Society for Photographic Education, P.O. Box Advertising inquiries should be addressed to 1651, FDR Post Office, New York , NY 10150, or Phyllis Galembo, Advertising Director, Exposure , order through a major subscription agency. P.O. Box 694, New York, NY 1001 I. (212) 989- 0198 . Submissions: Editorial contributions and letters should be Entered as 2nd class postage, addressed to EXPOSURE, P.O. Box 2592, Ann Chicago, II. Arbor, MI 48106 .

3 TheMa~ When I was asked by Jack Higbee last tracks, each consisting of multiple presenta­ Introduction spring to manage the program at the 1984 tions, that addressed the issue of "documen­ National Conference, I sat down and care­ tary". Similar approaches were needed, but fully thought about all the regional and could not be developed, with other topics.) national conferences I had attended in the The bare facts are these: the conference was last eight years. The single most glaring attended by over 700 people, who had the inadequacy that I perceived was the absence opportunity to attend fifty-nine individual of any record of the many fine presentations presentations, twelve panel presentations, that occurred at those events. Often papers and view over 35 video tapes. There were later appear in one journal or another, but two international guests (Pedro Meyer from there did not exist a sense of the collective Mexico City and William Klein from Paris), thinking that occurred during those few days and distinguished evening lectures by when people actually came together. Sub­ Professor Alfred Appel (English, North­ squently I decided to try and assemble the western University) and Dr. Herbert Schiller best material presented at the 1984 confer­ (Communications, University of California ence. I wanted this record of the conference at San Diego) . The final evening presentation to be useful for all SPE members, and also by William Klein was the first time he had gathering me, serve as an indication to the field-at-large ever presented a lecture of his work in this world is uniql about the purpose of SPE. country. Iight-sensitiv, The 1984 National This issue of Expo­ evidential asr Conference was held on the campus of the sure does not fully reflect the diversity and argument fro1 University of California at Riverside . I depth of presentations at the conference. It is has been dubl attempted to design the conference so that my hope, however , that the membership will in an essay b) significant issues would be addressed in find some of these papers interesting , some naive assump more than a cursory fashion. I wished to useful. have individuals from other disciplines visual syntax actively involved in the conference , both as photograph is presentors and an attending audience . I was Mark Johnstone to some privi only partially successful in these endeavors. Program Manager The photogra (For example, I was able to develop several 1984 National Conference evidence in a relies upon it. camera. The I and issues pe' phers call epi declaimed in

"social docun grounds the p ledge about ti plishes this bl portrait. The they really ar reproduced i

4 TheMap is not the Territory ta­ :n­ Lit JamesHugunin .) as

,m is),

Introduction Iler 1ia tion Photography is an information­ engraving itself was considered truthful, evidence based d gathering medium . As a medium, its relationship to the upon the camera-image . For instance , in the February issue world is unique since it is a light-tracing of some thing onto of Afterimage, Jan Zita Grover, in a study of the Ci vii War as light-sensitive emulsion. As such, it purports to have an illustrated in the press, dredges out a quote from Harper's )0- evidential aspect that painting cannot claim. This ontological Weekly, June 17, 1864 concerning engravings picturing the id argument from the optical-chemical nature of the photograph ill-treatment of Union prisoners-of-war: It is has been dubbed the "visual model of photographic process" Evidence of the inhuman treat• will ne in an essay by Joel Snyder and Neil Allen, which de-bunks ment of our prisoners by the Con• naive assumptions concerning the medium's supposed lack of federate authorities at Richmond visual syntax. Despite Snyder's and Allen's arguments, the continue to multiply. We give on photograph is still perceived by many people as having access the preceding page two illustra• to some privileged form of truth, to being itself 'transparent'. tions which afford indubitable The photograph's assumed objectivity is why it can stand as proof on this point. These illust­ evidence in a court of law , why military reconnaissance rations are made from photo• relies upon it, and why pornographers ply their trade with the graphs in the United States Gen­ camera . The photographic image, then , still entails problems eral Hospital ... The pictures ... are and issues pertaining to knowledge theory, or what philoso­ not fancy sketches from descrip• phers call epistemology . One philosopher, George Santayana, tions; they are photographs from declaimed in a talk given to the Harvard Camera Club: life ... and a thousand-fold more Here is an art that truly imitates impressive than any description, the given nature ... The virtue of they tell the terrible truth. photography is to preserve the visible semblance of interesting Such an assumption of the truthfulness of observation is things so that the memory of relied upon and used by the photographer and believed by them may be fixed or accurately many viewers. restored. 1 In this paper I will look at the 'limit positions' around which more specific theories of knowledge The genre of photography known as cluster and how these three main positions relate to various "social documentary," or "concerned photography, " fore­ modes of approach in the making of a photographic social grounds the photograph's function as tool in gathering know­ document. This will help us to better understand the nature of ledge about the world and its inhabitants . It usually accom­ the social documentary photograph, to make judgments plishes this by means of the environmental study and the concerning the relative truth value of those documents, and portrait. The photo-document is supposed to show things as to answer to what extent we can credit that genre with access they really are. During the time when photographs were to the complexities of social reality. reproduced in illustrated newspapers by engraving alone, the

5 Currently there are three main graphic emuls approaches to the social document: practitioners a 1. Traditional humanistic documen­ such thinking, tary-established during the late territory is out nineteenth century. surface of Jang 2. Marxist realist political critique­ flat and to neai which came to its own during the describes. I sa'. Twenties with photomontage were aware th, and has since developed addi• camera's eye.' tional visual/verbal strategies in to map the terr its campaign to de-bunk Short Tail Gan capitalism, and 3. Postmodernist textual critique­ whic is a fairly recent application of poststructural theorizing to the deconstruction of prevailing ideologies.

I will match up each of these different ways of photographically coding social reality with what I take to be their three corresponding epistemological 'limit positions' . Each of the following three epistemological posi­ tions-empiricism, Marxist realism, and conventionalism­ embraces other related philosophical theories, but for the purposes of my argument we need not go into more detail. I will emphasize the latter two epistem­ ologies, critiquing conventionalism for its self-referentiality, for mistaking the map for the territory. I will suggest the fruitfulness of a photographic practice rooted in a Marxist­ Language here realist theory of knowledge as better able to explain social the thing-itself. reality, drawing out its deeper structures . empiricist epist Traditional Social Documentary dence between Traditional humanistic social documen­ map, between t tary, Marxist political documentary, and postmodernism all and its re-prese rest on differing bedrocks of assumed beliefs concerning the cerned photogr. nature of reality (the territory) and the photograph (the map) . 2 Smith, or Roy I As such, their understanding of the relationship between upon the photo territory and map, the explanation, will be quite different. the representati These different underlying premises correspond to the epis­ on his own pho temological limit positions of empiricism, Marxist realism, anchor and exp and conventionalism , respectively. although prefer In traditional "concerned photography", the words . The it is assumed that there is a real world which is independent its own merits: of consciousness and theory and which is accessible through mation in tradit sense-experience. Assumed as well is the existence of a a verbal aside i1 receptive subject, a sort of tabula rasa upon which sense data part of the artw, impinges-much the way light acts on a light sensitive photo- social critique.

6 graphic emulsion. Humanistic documentary demands of its Like empirical observation, the tradi­ practitioners an effacement of self in relation to the world. To tional photo-document suggests a methodology of detached, such thinking, it is axiomatic that knowledge about our objective date gathering. The photographic 'window' is then territory is out there already, waiting for us to map it onto the assumed to be transparent, the photographer concealing the surface of language or image. This surface is assumed to be optico-chemical sutures involved in the photographic process . flat and to nearly match point for point with the territory it The surface of the photographic print is simultaneously describes. I say nearly because documentary photographers posited and neutralized, invisible and at the same time a were aware that something of reality always escaped the necessary condition for visibility. This manner of photo­ camera's eye . The visual image is necessary, but not sufficient graphing, linguists would say, is in the 'enunciative mode' in to map the territory. For instance, of his photograph, "The which events seem to narrate themselves. In other words, the Short Tail Gang" (1874), Jacob Riis observed: traditional photo-documentary image incorporates within it a It is a bad picture, but it is not negation-structure that suppresses all marks of emission and nearly so bad as the place. Dock reception, that is, represses the ideological and syntactical rats, those, drinking beer under a aspects of the photograph. Edward Weston was aware of this dump. That is their business by ideological and esthetic component unique to photographic day, drinking beer, loafing around, representation: seeing what they can pick up. At The photographer's power lies in night they come out and sneak his ability to re-create his subject along the waterfront ... It happens in terms of its basic reality, and every day, especially in the sum- present this re-creation in such a mertime, that a body floats form that the spectptor feels that ashore with pockets turned inside he is seeing not just a symbol for out ... These are the fellows who the object but the thing itself start out with the idea that the revealed for the first time.• world owes them a living, and that they are going to collect it as Interestingly, this structure can be easily as they can ... 1 further understood in light of Freud's hypothesis that all negation is actually a disguised or displaced form of affirma­ Language here fills in the gaps between the photograph and tion. For instance, when a patient say, "You ask me who this the thing-itself . person in my dream was. Well, it certainly wasn't my father," The validation of knowledge within an Freud amends this to read: "So it was his father . "5 Both the empiricist epistemology, then, is based upon the correspon­ Marxist and postmodernist critique of the traditional photo­ dence between two realms, between the territory and the document play Freud to the humanistic approach to social map, between the world of events, objects, and relationships commentary, an approach more interested in evoking pity and its re-presentation in coded form . Consequently, "con­ than in encouraging resistance from the people photographed. cerned photography" by the likes of Lewis Hine, W . Eugene These latter two modes of approach to social critique make Smith, or Roy DeCarava purports to depict what-is based the point that since photography deals only with surface upon the photographic map as an analog for the territory, as appearances-and surfaces more often than not obscure the representation of universal truths. Yet as Riis' commentary rather than reveal the complex network of social relations on his own photograph indicates, language could be used to behind them-it is inherently incapable of expressing these anchor and expand the visual information in the photograph, relationships hidden under the social topsoil. although preferably the image should never merely illustrate the words. The image must be capable of standing alone on Postmodernism its own merits: such is the primacy given to the visual infor­ So-called postmodernists-such as mation in traditional documentary. Language works more as Barbara Kruger, Cindy Sherman, Cecil Abish, Vicki Alexan­ a verbal aside in traditional documentary than as an integral der and, in some of their works, Robert Heinecken and part of the artwork, as it is in much Marxist and postmodernist Douglas Huebler-make visible the sutures holding together social critique. the contradictions in our dominant representational systems.

7 Barbara Kruger "Your moments of joy have the precision of military strategy"

8 Douglas Huebler no title

9 proc They would be sympathetic to the notion of a " limitless position akin to Thomas Kuhn's notion of know ledge pro­ side realism" as espoused by Marxist estheticians Roger Garaudy duction as a function of paradigms, to Jacques Derrida 's The and Ernst Fischer , maintaining that a changing reality demands post-structural critique of the logocentric distinction between givt a changi ng of the conventions of realism in art. They also the sensible and the intelligible , between materiality and Hin know that an ideologically neutral mapping of social rea lity ideality, to Brecht's notion of alienation-effect as a device nati cannot, as the humanist s claim, be accomplished . They've foregrounding the syntax of representation , to the neo­ con witnessed how easily earlier documentary has been appropri­ Freudianism of Jacques Lacan's theory of subject formation, whi ated for reactionary purposes through re-contextualization . and to the revised Marxism of Louis Althusser, in which the They've seen how little real change has come about through culture is no longer a reflection of the mean s of production , not the sympathetic visioning of the socially -disadvantaged . but a material practice itself. Such an epistemological position Thi James C urtis and Sheila Grannen, in an essay on Walker British sociologist Terry Lovell has termed conventionalism, bet Evans ' documentary labors in Hale County , Alabama during a knowledge system that collapses empiricism's opposition tion the summer of 1936, make the point: between two incommensurable, interrelated levels: Mind and edg Like so many well-intentioned Nature . 1 This puts an end to the philosophical troubles engen­ thin government reformers of the dered by Cartesian Dualism, but extends the old rationalist exp 1930s, he wanted to show that, critique of empiricism into new heights of subjectivism and although the sharecroppers relativism. esp needed help, they were not help• Critics of empiricism, the rationalists, tior less. He sensed that his fellow held that know ledge is not a passive reflection of the real dis, Americans would respond more world (as many lay people still think documentary photo­ tha sympathetically to a positive graphy is), but something actively constructed through the inc portrayal of tenant life than to a use of mental constructs or conventions, such as concepts , the morbid curiosity with dirt, dis• theories, and syntax . Basically this is the Kantian notion of ide ease, or suffering ... he tried to prior or innate intuitions (like 'space' and 'time') upon which dis, show how they created a world of the possibility of all knowledge is based . These intuitions ess order in the midst of poverty ... organize sense data into meaningful wholes, while stressing Cm Sadly, the tenants may not have the subjective dimension of knowledge production . Conven­ Jen shared this vision or appreciated tionalism reduces the territory to the map. The truth criterion its intent. Where Walker Evans becomes not one of correspondence between our signs and pictured hope, they knew despair. their referents, but one of intertextuality, the internal coher­ Where he saw beauty in the re­ ence between signs and the unlimited referral of sign-to-sign flection of light on the faded within the map itself . Foucault, in his book The Archaeology oilcoth, they saw the ravages of of Knowledge, has succinctly s ummed up this approach: "I time. As Mrs. Burroughs [one of would like to show that discourse is not a slender surface of the tenants] once said [in Let Us contact, or confrontation, between a reality and a parallel." • Now Praise Famous Men] 'Oh, I All that remains of the territory (what Western philosophical do hate this house so bad! Seems tradition has termed presence) are the maps , that is, texts like they ain't nothing in the whole referring to other texts . Here it is no longer possible to refer world I can do to make it pretty.' 6 to objects existing outside of discourse as the measure of the Today it is not unusual for corporations to hire fine art photo­ validity of that discourse . On the contrary, in the absence of graphers to shoot the pictures for their annual reports, thereby such extra-discursive territories, the entities specified in estheticizing , warming up, the cold equations of discourse must be referred to solely in and through forms of Reaganomics , producing their version of Let Us Now Praise discourse it self. Meaning arises from a sign 's place within a Rich Men. system of signs. In effect, this epistemology makes the map The philosophical underpinnings of (language and /or image) the only reality, or reality the function postmodernism are to be found within an extension of the of visual/verbal discourse. This is why the postmodernists rationalis t critique of empiricism into a deeper subjectivist have restricted their social critique to the level of ideological

10 productio n, a level w hich they perceive as now operating second person personal and side-by -side with, but independently of, economic prod uction. possessive, operates as a 'shifter' The term "c ulture-industry", coined by T. W . Adorno, and between a singular and plural given furt her status and auto nomy by Lo uis Althusser, Pau l context and functions to displace Hirst and Barry Hindess, attests to t heir belief in the productive the referent .. . During the instant nature of t he consciousness ind ustry. Traditio nal Marxism's of discourse, the authoritative concern with the economic roots of c ultural production, in assertion is reiterated by the which the cultural superstruc ture is viewe d as a reflection of reader who may choose to come the deeper base o f economic productio ns, is mo dified so as to terms with it resolving the not to favor the priority of the economic level over the cultural. contradictory terms in an effort This breaks wit h the dualism betwee n theory and practice, to affirm, negate or dismiss as betwee n ideas and mater ial production as assumed in tradi­ nonsensical. In this way Kruger's tional Marxism. From this postmo dernist pers pective, knowl­ work catalyzes a shifting of dis­ edge is the end product of a specific practice; it is not some ­ course ... Kruger's use of con­ thing inscribed in the real and abstracted fro m it through tradictory terms in [her artwork] experience, as i n traditio nal documentary. exposes the strategies and tac­ In the work of the pos tmodernists, tics of formal logic as instruments especially as seen in Barbara Kruger's word/image combi na­ of power deployed in the pursuit tions , the tactic is not to confront the do minant ideology or of an illusory truth. 9 discourse with the objects of a nother discourse , but to subjec t that discourse to a n immanent critique, see king its internal And Kruger herself, in t he same exhibition flyer, inconsistencies and co ntradictions. T he negation-structure of has co mmented: the discourse is foregro unded and de-bunke d. This process of I see my work as a series of at­ ideologica l deconstruction, objectified in Kruger's art , is tempts to ruin certain represen­ discusse d by curator Co nnie F itzsimons in her intro ductory tations, to displace the subject essay to a s how at the Long Beac h Museum of Art tit led and to welcome a female specta­ Comme nt. Let me quote Ms . Fitzsimons o n this point at tor into the audience of men. 10 length, for therein we can see the scope a nd expec tations of a postmodernist critique of disco urse: In these exce rpts we find a very forma l, internal type of In Barbara Kruger's work, Your analysis of discourse, t he kind we would expect from a know ­ moments of joy have the precision ledge sys tem that has dismantled the base/superstructure of military strategy, the declara­ distinction of traditional Marxist epistemology in favor of a tive statement, fragmented and conve ntionalist perspective. We also fin d in the above quotes, set in large blocks of type, works especially Kruger's, an i nterest i n foregrounding the target of with an image of a militant fist ideology, the Self, as a psyc ho-socia l construction. This is raising a torch to invest the work where the psychoanalytic theories of Jac ques Lacan enter and with assaultive, accusative and lend support to the conventionalist theory of k nowledge. confrontive connotations ... De­ Althusser, by the way, draws ex tensively upon Lacan's clarative statements function to notion of ego formation to support his theory of ideology. make assertions about the world; For Lacan, the Self is not the unitary ego of the Cartesian in this way they are about the Cogito ergo sum. That sense of a unitary Self is, accor ding to world; in this way they are au­ Lacan, a n illusion, an effect of ideo logy; ra ther, the subjec t thoritative and judgemental. In only exists as if it were a unitary s ubject. It is actually a Kruger's work that condition is misrecognized Se lf formed from an idea lized image which it intensified to a state of provoca­ forms of itself in the mirror of the i dealized Other, be that tion where it functions as a social one's fa mily, Big Brother, or c ultural forms of reflection like sign during the instance of dis­ film, television, and literature. Herbert Marcuse succinctly course. The pronoun, 'Your', states the role of ideology in subject formation and the result

11 of such socialization : identical to the empirical world, the world as it exists to our In its idea of personality affirma­ simple observations. The map, coded into verbal/visual tive culture reproduces and syntheses, relates to the subterranean levels of the territory, glorifies individuals' social isola­ while the territory is the range of social ills brought about by tion and impoverishment.'' the existence of an exploitative economic structure . I stress economic here because unlike their postmodernist contem­ Insofar as cultural forms seem to offer mirrors to the Self, in poraries, these artists do not stop their critique at the level of which the Self can misrecognize itself, social reality, and its representational ideology alone, but dig down to the economic place within that reality, those cultural forms belong to the roots of the exploitations in our current social reality. In level of ideological practice within social formation. In approach, these artists are true to Marx's and Engels' thinking particular, it is narrative, realist forms of representation that, in The German Ideology where, in a famous passage, the it is held, play the mirror and so operate to produce the illusion authors state that culture can have no genuine autonomy or of individualism and autonomy in our society. 12 Hence, history of its own : postmodernism' s preoccupation with deconstructing those We do not set out from what men forms of representation. say, imagine, conceive, nor from men as narrated, thought of, Marxist Realism imagined or conceived, in order The third method of social docu­ to arrive at men in the flesh. We mentary-as practiced by photographers like Marshall Mayer, set out from real, active men, and Steve Cagan, Fred Lonidier, Connie Hatch, Martha Rosier, on the basis of their real life• Allan Sekula, Victor Burgin, Carole Conde and Karl process we demonstrate the Beveridge-is rooted in a Marxist realism that assumes a development of the ideological territory independent of its map, knowable not only in its reflexes and echoes of this life­ surface appearances, but also down to its underlying social process ... Life is not determined forces. The assumptions here are not like traditional docu­ by consciousness, but con­ mentary, with its belief in a near one-to-one correspondence sciousness by life. 13 between photograph and reality. It is understood here that a documentary style is an artistically reproduced picture of In contrast, the idealist epistemology of objective life and social conditions. As the social document postmodernism assumes the primacy of the text, of con­ is not identical to real life itself, it incorporates elements of sciousness, in determining our reality . The social relations of conventionality, but doesn't belabor the point like the post­ production are largely ignored. They cannot be read off from modernists . In addition, while a social document is being the text, nor from its mode of consumption either, yet those apprehended, it is, as it were, being supplemented by the relations are important in fully understanding ideological imagination of the reader /viewer. The correspondence of the practice, something postmodernists say they are concerned

1 social document to reality is, then, more complex than usually with . • The mass media and art (texts frequently de-bunked understood in traditional social documentary, but not merely by postmodernists) are social phenomena . They are produced tautological as in the postmodernist perspective. After all, and consumed within particular social relations, and have Marx had pointed out that the difficulties accompanying particular social consequences, facts not overtly dealt with in cognition (and something that had to be accounted for in a postmodernist textual critiques. In contradistinction, the realist form of knowledge) was precisely the fact that the Marxist realist political artist attempts to generate awareness essence of a phenomenon is not to be found upon its surface . of the societal context of cultural production . Again, a quote The task of this realist probing is to produce knowledge of from The German Ideology: that real territory and not simply elegant and internally con­ Consciousness can never be sistent maps which refer endlessly inwards toward discourse anything else than conscious alone. Realism's criterion of truth synthesizes conven­ existence, and the existence of tionalism's notion of internal coherence and empiricism's men is their actual life-process. If notion of external correspondence . Not being a naive realism, in all ideology men and their however, the territory to which the map corresponds is not circumstances appear upside-

12 "The company that/' d worked for is noted for the amount of heart attacks in their people ... I have known in the past four years of one heart attack death and about seven heart attacks had open-heart surgeries from this particular company. "

Fred Lonidier "Manufacturing Engineer's Heart," from The Health and Safety Game

"/wouldn't say that they would take and explain to workers that there is a chance of them catching brucellosis and what to look for once you got sick . I don 't think they would do that . I doubt if any employer would because you wouldn't have nobody working for them . "

Fred Lonidier "Meat Inspector's Disease," from The Health and Safety Game

13 down as in a camera obscura, not appropriating the identity of the person in front of the )if, this phenomenon arises just as lens.' 6 no much from their historical life. Political photographer Fred Lonidier re1 processes as the inversion of has, since the late Seve nties, been working in collaboration Itl objects on the retina does from with labor unions. Comments Lonidier: te their physical life-process. 15 ... if unions are receptive to an, certain cultural content in art pu Marxist realism counters this inversion of the actual socio­ form and resources are set aside econo mic situation as it exists out there in a territory distinct for their production and distribu­ tha from its map . This sort of engaged so_cial documentary-many tion, then it follows that artists COi of these artists collaborate with labor unions-is far removed should be encouraged to make COi from the safe academicism of postmodernist critique, an works that are relevant to labor. 11 say acade mici sm that convenie ntly forgets that there are two basic elements linkin g materialism to correct social theory: a concern with hum an happiness and the conviction that it can ... a consistent presence of an be attained only through a transformation of the material alternative art that explores, condition s of existence . An internal critique of the forms of examines, critiques, or cele• representation in the mass media can point out certain means brates being a worker and union of soc ial co ntrol at work in our society, but it can 't generate member would be of immense

1 any real political or economic power. Artists such as Marshall value ... • Mayer are attempting a much deeper critique of the forces at work in our society with the hopes that real economic and Severa l years ago Lonidier began documenting the problems political change will be stimulated by their artmaking. encountered by employees either injured on the job or suffer­ This type of social documentary asks ing a job-related disease . Of this project, titled The Health provocative questions concerning the role of the artist, his or and Safety Game, Lonidier confesses that it was his "first her relationship to the subject, a nd the demands of audience. effort to bridge the diverse audiences of high art and organized For instance : labor. " 19 The artwork consis ted of a series of photograph-text 1 . Should the artist work in colla­ combinations. The images were cl inically detached, objective . boration with his or her subjects? Often close-up, no faces were v isible, no identities were 2. Might the artist not train workers given, as many of these patients were still involved in legal to make their own social docu­ proceedings. A heading stated the patient's health problem, ments, to become skilled at self• while the capt ion beneath was a brief quote from the patient. representation? For example, under the photograph labe lled "Office Worker's 3. Would the cause be better served Nerves ," the patient exp lained: if the artist exhibited in labor She didn't give me the forms unions or in lobbies of businesses, because she didn't want her rather than within an art record to look bad. It was for her context? own future promotion. 20 4. Should the artist compete with the modern consciousness in­ This artwork acknow ledges the need to go beyond the level dustry, using the latest tech• of appearances. The photographs show merely an area of nologies and mass distribution? hum an flesh, but the verba l accompa niment defines the disease or inj ury, whi le the patient's statements indict man­ These artists see the power of comm unication as the c umul a­ ageme nt's callousness. The social critique here is of a much In ti tive result of the entire process of production : the social deeper and more practical nature than that carried on by the ma1 document and its distribution . They explore what kind of postmodernists , for it reaches into social relationships that futu collaboration can exist between photographer and photo­ hide behind the 'glad hand ' of the corporate bureaucratic graphed that will ensure that the person behind the camera is syste m . It assumes real flesh-and-blood actors on the stage of

14 life, in a society increasingly oblivious to human suffering, Endnotes not just an attack on the signs of a society aglut with pernicious 1 George Santayana, "The Photograph and the Mental Image ," representations. Exhibition of such issue-charged works has, Photography in Print, ed. Vicki Goldberg (New York: Simon & Schuster , 1981), p.260. n I think, more potential to initiate socia l change than the 2 I am indebted to Alfred Korzyb ski for the terms "territory " and textual critiques of the postmod emis ts, while its visual rhetoric "map" . and verbal anchorage prevent it from being appropriat ed for ' Riis, quoted in Alexander Alland , Sr., Jacob A . Riis (New York : purely esthetic or reactionary reasons. Aperture , 1974), p.158. ide I'll conclude with a listing of problems 4 Edward Weston , "W hat is Photographic Beauty," Photographers t,u­ that Lonidier sees as vital for political artists to address, on Photography , ed. Nathan Lyons (Eng lewood Cliff s: Prentice­ s confirming that this mode of documentary t ackles what it Hall, 1966), p.154. e considers t o be real issues within th e real world . Lonidi er 5 Cra ig Owens , "Represen tation, Appropriation and Power," Art or. " says photgrapher s might conduct: in America, (May 1982), p.17. 1. Attacks on the reduction of the 6 James C. Curtis & Sheila Grannen, "Let us Now Apprai se standard of living, including wage Famous Photographs : Walker Evans and Documentary Photo­ freezes and cuts, benefit reduc­ grap h," in Winterthur Portfolio , 15: I , Spring 1980 , p.23. Quote nd Evans , Let Us Now Praise Famous M en, on tions, and inflation; from Agee a p.210 of that text. 2. Attacks on the opponents of 7 Terry Love ll, Pictures of Reality (London : British Film Institute, ion unions, including legislative 1980), p.14 . constraints, bad press, right-wing 8 Foucault , The Archaeology of Knowledge (New York: Harper groups, and union busting; Colophon , 1976), p.48. 3. Studies of working conditions, 9 Connie Fitzsimons, "Introduction ," Comment (Long Beach: ems including speed-ups, harassment, Long Beach Museum of Art, 1983), unpaginated. ffer­ occupational disease and injury, th seniority changes, and arbitrary ;t promotions; ized 4. Attacks on threats to social ser• -text vices, including reductions in James Hugunin is a Los Angeles­ ctive. social security, worker's com• based photography critic , editor of U-Tum, and winner pensation, unemployment bene­ of the I 983 David Logan critic's award in photo­ gal fits, the minimum wage, and graphy . ~m, welfare; ient. 5. Attacks on unemployment, rker's including plant closings and runaway shops; 6. Investigations into the problem of undocumented workers, and her finally 7. A consciousness-raising con­ cerning labor history itself, a text ~vel repressed by capitalist society, a )f text that postmodernist critique has failed to address. 21 nan­ nuch In this mode of approach, territory remains distinct from its f the map, while exuding a hopefu lness for a better life in some hat future condition of society. ic age of

15 Fighting for Jobs

Judith Crawley

In February 1983, more than 80,000 struggle that began when salary increases included in our teachers walked out of their schools in Quebec, a French­ previous Collective Agreement were cancelled, and our next speaking island in English-speaking North America. The contract, reducing salaries and jobs while increasing work­ Parti Quebecois government, considered a friend to teachers, load, were decreed . Women teachers, often lowest in senior­ who helped elect it to office, was holding public service ity, were particularly affected. workers responsible for the financial crisis. But more than money was at issue in this attack. In this light , though I was not present in British Columbia, the massive mobilized response to that My camera was with me during this government's regressive actions in the face of its fiscal crisis intense experience of collective action and mobilization by cannot be overlooked. the teachers at my college. "Fighting for Jobs" is about our

16 our )Ur next work-

1 senior-

resent in that al crisis

Judith Crawley teaches photography at Vanier College, Montreal, Quebec

17 Cultures in Contention:

The Docklands Community Poster Project

"W Tl Diane Neumaier DJ L, 12 TheLondon cargo industries' aban­ generation is replaced , it is moved to another site , circulating Pt donment of the Docklands district to new docks and new the project throughout Docklands . Each photo-mural is an methods has forced the Docklands community to address the 18' x 12' photomontage with applied color. The project was issue of re-development. Residents face decay, unemploy­ designed by Loraine Leeson and Peter Dunn and was executed ment , possible moves, and outside speculation. "The under their direction. Changing Picture of Docklands" is a local community action Reproduced here are the first four by the Docklands Community Poster Project in their own re­ panels in which the invasion of corporate investment is fea­ development process. The project acts as an organizing tool tured. Ultimately, with the remaining four panels, the project in the community 's struggle for survival and self-determina­ advocates the community actively define its own future. tion. 'The Changing Picture of Docklands" portable outdoor billboards are systematically changed eight times to reveal a complex analysis of the issue . As each

Diane Neumaier is a New York photographer and critic whose anthology, Cultures in Contention, will be published by Real Comet Press, Seattle, in winter 1984.

18 •· TH■ CHANllllNII Pl~~~ DOCKLAND■

"What's Going on Behind Our Backs," The Changing Picture of Docklands Docklands Community Poster Project , London

12' X 18' 1ting Photomontage with applied color. n vas ·uted

a- 1ect

:tie,

19 The Way We Live Now:

Beyond Social Documentary

Abigail Solomon•Godeau

Whilecontinuing certain aspects the hazards of nuclear energy-these are some of the issues and goals of traditional social documentary, much recent that these photographers have taken as the subject of their social documentary photography nevertheless demonstrates a work. Such concerns would seem to belong categorically to critical awareness of the problems and contradictions inscribed the practice of traditional social documentary photography. in the documentary mode itself. Social documentary is here There is some irony in the fact that at defined as a form of photographic practice that is instru­ the same time that much recent criticism (and certain art mentally conceived, i.e ., intended to provoke a response in production) is concerned with the instrumental and ideological the viewer that will itself be conducive to social and political functioning of photography, photographic practice bearing an change. Historically, such photography has encompassed a explicit social or political agenda finds itself increasingly variety of approaches ranging from the militant expose (cf. marginalized within the precincts of both the photography Riis, Hine) to what the critic Allan Sekula has termed "the and the art world. In addition to problems of venue and find-a-bum school of concerned photography". Reformist exposure, such photographic practice is also beset by questions more often than radical, social documentarians have until as to its own self definition, purposes, form of address, and recently failed to question the prevalent mythologies of all practical functioning. In assembling this exhibition the inten­ documentary photography: that the photographic image is tion was to present a range of work which demonstrated a autonomous (can speak for itself); that it is transparent (seeing critical awareness of the problems and contradictions inscribed is knowing); that its content and message exist independently in the documentary mode itself. Adapting a variety of formal of its ontological status as picture, its formal codes, its context, and discursive strategies, the photographers here represented venue, and social functioning . are involved with trying to invent photographic forms that are The work of the photographers here is consistent with the political or social critiques which are the distinguished from this older form of social documentary in raison d'etre of their work in the first place . Pushing the that it attempts-with greater or lesser success-to reckon boundaries of social documentary as conventionally under­ with such issues. Recognizing that for the most part, photo­ stood, and asserting the textuality of the photographic image, graphy actively conceived as "political" in intent and content such work attempts to function critically in a doubled sense; functions no differently, and in fact is often indistinguishable externally in that it deals with the actual world ("The Way ) from mainstream photojournalism and conventional documen­ We Live Now") and internally, in that its critical operation is J tary modes, these photographers have generally elected to turned equally, inwardly, upon itself ("Beyond Social take another tack altogether. Following Walter Benjamin's Documentary"). observation that "less than at any other time does reproduction of reality tell us anything about reality, and that therefore something has to be constructed, something artificial, some- thing set up," these photographers have jettisoned all claims to photographic neutrality or transparency. Abigail Solomon-Godeau is a New Modem war, exploitation of migrant York photography critic who has written for Afterimage, Art labor, sexual politics, union organizing, forced gentrification, in America, October, and Print-Collector's Newsletter.

20 ! issues :heir ally to aphy . hat at art ological aring an 1gly 1phy 1d uestions s, and e inten- ed a nscribed ' formal esented that are ire the the nder- · image, sense; Connie Hatch Way "Family" ·ation is j (Parsons, Kansas) from Desublimation of Roman ce 1977

a New ge , Art ir.

21 Connie Hatch "Redevelopment ? Over 100 People Lost Their Homes Here. " Form Follows Finance: Fire-Alarm N eighborhood 1982

22 r -

Mitra Tabrizian from Fashion/Modeling School , n.d .

pie

Mitra Tabrizian from Fashion/Modeling School, n.d.

23 Critiquing Methods for Teaching Photo I

directi, What, Monte Gerlach succes: image

teachin

WhenI was asked to organize boring, negative, uninspiring, and all-too-often is destructive the Teaching Photo I panel by Robin Brown for the SPE of your students' egos and motivation . Regional conference, I immediately thought of a nuts and Critiques should be structured to bolts approach. I have been to many conferences where the involve the entire class. A passive audience retains very little experts sit removed from the audience and swap theories . knowledge . Critiques should be psychologically safe for These panels generally become side-tracked into minor students, allowing them to voice opinions without fear of points and nothing visually is presented . I wanted a panel that being wrong and ridiculed. Critiques should also be designed would talk directly about the 'how to' of teaching . Most of to convey aesthetic and technical knowledge as well as to the members of SPE were never trained as teachers . In school give the students feedback on their art . they spent all of their time and energy perfecting their art­ I try to vary the style of critique from not considering how to convey the craft of photography . week to week to keep the critiques from being too predictable When they got their first job the problem of teaching was and unproductive. These methods are designed to break the thrust upon them. Like me most of the members of SPE "I like it" syndrome . They provide a non-threatening forum probably fell back on their memories of how they were taught for the students to obtain feedback and develop critical skills. Enough or how they wish they were taught-often with less than for ever satisfying results . Teacher Critique write fol The members of the panel, Jim Stone, This is the method that is the easiest to start ad J . Seeley, Guenther Cartwright, Jean Locey, Ken Slosberg, use. You are controlling the discussion, moving at your own the writ1 and myself, do not pretend to be experts with all the answers, pace, controlling what images are being discussed, and to a or to have the right way to teach Photo I. The panel members degree what is being said about them. come from diverse backgrounds and teach in different This method is good to get important environments . They represent years of teaching experience , technical and aesthetic ideas across , but in many case s you down. S years of trial-and-error successes and failures. The panel's do all the talking. Students become too intimidated to voice several 1 intent is to share our experiences in an informal presentation . opinions in the face of "expert" knowledge. lead the, SPE has a vast pool of teaching the time experiences that is rarely tapped . This panel is an attempt to Small Group Discussion judgmen start the dialogue to share insights, improve the craft of Divide the class into small groups (3-5 images o teaching and directly improve the education of our students. people). Each group selects a coordinator, recorder, and details a1 Critiquing is one of a photography spokesperson. bring thf teacher's most powerful teaching tools. A well-run critique The coordinator's responsibility is to fantasize can be a powerful , uplifting, and emotional experience that make sure that every print in the group is discussed and that themsel can have immediate, positive effects on the students ' everyone contributes. The recorder writes down major ideas the insid, learning and motivation, as well as on their production of on each print. The spokesperson reports the opinions of the the form: more sophisticated images. A poorly-run critique can be group back to the class as a whole. for the cl describe

24 I give them specific tasks to give them their fantasy. The photographs are then discussed by the direction: how well does the image fulfill the assignment? whole class. What was the photographer's intent? Does the image successfully convey that intent? Can they categorize the Quick Seeing/Drawing Critique image into previously established area_s? Photographs are collected at the beginning of class. I hold them up one at a time to the class Word Whip for 30 seconds. Students then make a quick sketch of the This came from a Doug Stewart image that they saw . Drawings are later compared with the teaching workshop at Asilomar: photograph and discussion begins on what was seen, what The class sits in a circle. One was not, and why it was not seen . print is shown around the circle. Each person must say the first Traded Print Critique thing that comes to his/her mind. Each student is given someone else's ive Words cannot be repeated. print to take home . On a specific day, these prints are Photographs go around 2·3 times, returned to the class along with a companion print done by depending on class size. You can the student who lived with the traded print. The companion :tie ask for a specific type of re• print should relate visually, emotionally, and aesthetically to sponse: descriptive, technical, or the traded print. Discussion is then centered around what the emotional words on each pass of original photographer was trying to do as well as what the ,ed the image. I use this on emotion• companion print emphasizes. ally• charged assignments like self-portraits. Critique By Categories I have a student put that week's work ble Index Card Critique into whatever categories they can think of. Discussion is then People will usually give honest generated. Then someone else rearranges them into new n responses if promised anonymity . categories, and more discussion, and so on . lls. Enough index cards are passed out so that everyone has one for every image or person being critiqued . The class will Turning Critique Over to the write for half of the period and then the cards will be read to Student start a discussion about the work. Each person will take home By letting students control the critique, the written opinions of his/her work . you put the responsibility for their learning on their shoulders . a Each student can run the discussion on his/her work or Relaxed Fantasy students can lead discussions on someone else's work or an Each person is given a photograph face entire assignment. By the latter part of the course, the class down . Students are to close their eyes and breathe deeply for should be fairly adept at discussing photographs . I find that several minutes, concentrating on relaxing their bodies . I they do not need me to guide discussions by the end of the lead them through a simple relaxation exercise . When I feel course . the time is right, they tum over the image. I ask them to defer judgment and just to accept the image. The students study the -5 images closely for several minutes, trying to see all the details and tones. Then I ask them to close their eyes and bring the images back into their minds . I ask them to fantasize about the images by directing them to make themselves walk into the photographs and look at them from

IS the inside, talk to the people or objects, and to look behind Monte Gerlach teaches photography the forms of their mental image picture. After allowing time at Ithaca College, Ithaca, New York. His Riverside panel for the class to come out of the pictures, I ask each one to presentation, Teaching Photo I, included the material printed describe the image. Then they show the picture and tell of here.

25 At the Cleveland convention, for example, A .S. Robbins Valley . These fourteen wood engravings illustrate a magazine associa displayed Yosemite views by Watkins, while Wilson , Hood article published in 1866; thirteen of the same blocks were paign t, "& Co . displayed a smaller set by Muybridge . Yosemite used for a second time in a guide book that went through Hetch)1 photographs were also shown at industrial fair s held almost several editions and half a dozen printings between 1872 and shots O' every year on each coast, modest price of admission allowed 1882 . Comparable numbers of Yosemite views by Watkins , the Cal millions of working class Americans to attend. At industrial Roche, and Fiske are reproduced in other nineteenth-century Valley exhibition of the Mechanics' Institute in San Francisco, for publications. photog1 example, the following photographers and firms displayed The mas s production and widespread before ; their Yosemite views : Weed (1864) , Watkins (1864-65, distribution of photographic images made the public familiar writes , 1868-69, 1871, 1874, 1878-80, and 1891), Lawrence & with the physical appearance of California's spectacular graphs Houseworth (1865), Thomas Houseworth & Co . (1868-69, mountain scenery. They may well have contributed to that valley f 1871, and 1874), Bradley & Rulofson (1874) , Reilly (1875), public's readiness to send letters and telegrams in support of Februru and Fiske (1883). Watkins, Bierstadt, and E. & H .T. Anthony federal statutes that preserved the Yosemite, the Big Trees , Finck, & Co . showed their photographs of Yosemite Valley a total and the high Sierra. The works of many artists and photo­ nationa of seven times at 1870-73 industrial fairs sponsored by the graphers provided an underlying impetus for the legislation; photog1 American Institute and by the Franklin Institute in New York photographs by Weed and Fiske played a role in the drafting malfeas City. An international audience became acquainted with the and passage of the bills . natural wonders of California through the photographs on The first permanent, public tourist display at world's fairs in Paris (1867), Vienna (1873), resort of any importance was established in 1864, when Philadelphia (1876) , and New Orleans (1884-85) . Yosemite Lincoln signed a bill that set aside Yosemite Valley and the and Big Tree views were contributed to these international Mariposa Big Tree Grove "for public use , resort, and recre­ exhibitions by the following photographers and firms: Watkins ation ... inalienable for all time." By 1864, Yosemite and Big (1867-85), Lawrence & Houseworth (1867) , Houseworth Tree views by Weed, Watkins, and Albert Bierstadt could be (1873-76), Bierstadt (1873- 76), Anthony (1873) , Muybridge inspected and purchased in New York City . During the (1873), Bradley and Rulofson (1876), I.W . Taber (1884-85), months the bill was before Congress, views by Bierstadt and and Fiske ( 1884-85). Watkins were displayed at the New York and Philadelphia Photographic information about fairs of the U.S . Sanitary Commission . While these works Yosemite and the Big Trees was also available to all cla sses may have exerted an indirect , secondary influence in the in pictorial letter sheets, illustrated newspapers, magazines, passage of the bill, Weed's photographs played a far more and books. D. A. Plecker' s daguerreotype of the Mother of important role . The General Land Office had prepared the the Forest, in the Calaveras Big Tree Grove, was the first bill at the request of John Conness, who introduced and camera-generated image of a giant sequoia to be reproduced championed it on the floor of the Senate. Conness had received Three da for publication. It was transcribed by wood engravers and a some of Weed ' s Yosemite views in conjunction with a letter Congres lithographer and published in a variety of letter sheets ( 1854- from I.W . Raymond , who proposed that several useless Valley b 55) and a "pictorial" printed in the format of a newspaper tracts of federal land , the Yosemite Valley and Mariposa Big oversize (1857-58). These Big Tree incunabula reached a small audi­ Tree Grove, be granted to the State of California, "for public H. Jacks ence, however, in comparison to several sets of reproductive use, resort and recreation ... inalienable forever." prints copied from photographs taken by Yosemite's first In 1887-88, the Yosemite Valley Com­ Washing cameraman, Charles Leander Weed. missioners ordered the cutting of trees, burning of underbrush , quoting l The first set of nineteen wood engrav­ plowing of meadows, planting of hay, and stringing of barbed park "an ings was prepared to illustrate a series of four magazine wire . Fiske was hired by a private party to take a set of photo­ tion of N articles published in 1859-60 . Seven of the same blocks were graphs that documented the State's mismanagement of the the Centi re-used in a pictorial for 1860, seventeen in a book that went Valley . To substantiate its charges against the Commissioners, of the Ye through seven editions between 1860 and 1876, ten in another the San Francisco Examiner printed eight line blocks based Fiske am book of 1865, four in yet another book of 1874, and eight in on these photographs . The California Senate and Assembly in the fin still another book that went through four editions between appointed committees to investigate the charge s. ink sketc 1886 and 1888 . The second set of print s are transcribed from Around a camp fire in the Tuolumne three pho photographs taken by Weed during his second trip to the Meadows, John Muir and Robert Underwood Johnson, an editorial

28 :azine associate editor of the Century Magazine ,planned their cam­ the halftone reproduction s of the previou s issue a s evidence :re paign to preserve the watersheds of the Yosemite and Hetch­ to support hi s argument that Yo semite 's Commi ssioner s Hetchy valleys as a national park. Johnson fired the opening should not be permitted to administer the proposed national l and shots of the campaign in January of 1890. From the report of park . On September 22nd , the Chairman of the Senate Com­ ins, the California Legislature ' s investigation of the Yosemite mittee on Public Lands called for an inve tury stigation into the Valley Commissioners , "together with a large number of charges of maladministration in the Valley . By October 1st, photographs showing the condition of portions of the valley an alternative bill that placed Yosemite National Park under ad before and after the employment of the ax and the plow ," he the control of the Secretary of the Interior had passed both .iliar writes, "it is easy to see in the above testimony and photo­ houses of Congress and become law . Fiske's photographs of graphs abundant confirmation of those who hold that the the State' s mismanagement of the Valley had played at a decisive valley has not had the benefit of expert supervision." On role in the preservation of wilderness areas as a national park t of . February 6th, the Nation published an article by Henry T . From the 1850s to the 1880 s, a generat­ !S, ,. Finck, who called for the preservation of the high Sierra as a ion of clergymen , scientists , painter s, and photographer s national park. He describes Johnson's collection of Fiske attempted to describe California's natural wonders. A free on; photographs as the ultimate proof of the Commissioners' interchange of idea s between these fir st interpreters of ing malfeasance: Yosemite and the Big Tree s created a rich, complex icon­ What takes the matter entirely ography . The se brief , preliminary remarks are simply intended out of the field of controversy, to introduce a modem audience to the style s of a select group and shows that the allegations of photographers once active in the mountains of California, he are bare facts, is the cir• to indi cate some of the ways photographic information about :e­ cumstance that Mr. Johnson is in Yosemite and the Big Tree s was di Big sseminated to it s original possession of about a hundred nineteenth-century audience, and to l be sugge st that photographs photographs on which the sins played a significant role in the drafting and passage of seminal committed in the valley are re­ legi slation in the history of our national park poli md cy. corded indelibly. We have seen these photographs, and can tes­ tify from them and from personal observation last May that the strictures in the Century are not exaggerated or fanciful.

ved Three days before the Yosemite bill passed both houses of :er Congress, Harper's Weekly published another article on the Valley by Finck . It was accompanied by an impressive, 3ig oversize wood engraving based on a photograph by William lie H. Jackson . r On June 2nd , Johnson had testified in ITT­ Washington before the House Committee on Public Lands, .Sh, quoting from proofs of Muir's articles on the proposed national oed park "and showing photographs of the region." The publica­ 1to- tion of Muir's articles in the August and September issues of the Century was calculated to coincide with the introduction :rs, of the Yosemite bill in Congress . Seven photographs by Fiske and two by Watkins are reproduced a s wood engravings in the first article; the' second contains wood engravings of ink sketches by William Keith. In the first article, another three photographs by Fiske are reproduced as halftones . An Paul Hickman is a Ph .D . candidate in editorial by Johnson cites his collection of photographs and photographic history at the University of New Mexico .

29 Hollywoodland:

Hollywood Photographers' Archive

David Fahey and Linda Rich Co -curators

S,dtphntngrnphm h>t,e made, vital contribution to the film industry from its inception . From the I 920's, they created studio portraits, publicity photographs , picture essays and advertising messages in styles that uniquely identified each photographer. These photographers produced an enormous body of images which were far more significant than their original purpose. The names of some of these photographers arc well-known. while others arc less so . The Holl_,·11·ood Photographer .1·' Archi1·e has been created to preserve their work. and presently contains the photographs of Ted Allen, John Florea. Allan Grant, Milton Greene, Paul Hesse, George H urrel I, Douglas Kirkland, Richard Miller , William Mortensen, Sanford Roth, Peter Stackpole, Phil Stern, John Swope, Gene Trindl. Bob

Willoughby, Laszlo Willinger, Ida Wyman-and Sid Avery Cop (whose photographs are reproduced on the following pages). Copyright, Sid Avery "Alfr These photographs provide an insight "Ja mes Dean" 195 into the history and growth of Hollywood and Southern 1955 California. Collectively, the work is an extraordinarily valu­ able visual record that reflects American styles, heroes, cultural values and political concerns of the twentieth century.

Copyright. Sid Avery "Nat King Cole (Jack Palance and Gig Young in the Audience)" 1954

Cop "Ron, ne associate editor of the Century Magazine ,planned their cam­ the halftone reproductions of the previous issue as evidence paign to preserve the watersheds of the Yosemite and Hetch­ to support his argument that Yosemite's Commissioners Hetchy valleys as a national park . Johnson fired the opening should not be permitted to administer the proposed national d shots of the campaign in January of 1890. From the report of park . On September 22nd, the Chairman of the Senate Com­ the California Legislature's investigation of the Yosemite mittee on Public Lands called for an investigation into the y Valley Commissioners , "together with a large number of charges of maladministration in the Valley. By October 1st, photographs showing the condition of portions of the valley an alternative bill that placed Yosemite National Park under before and after the employment of the ax and the plow," he the control of the Secretary of the Interior had passed both if writes, "it is easy to see in the above testimony and photo­ houses of Congress and become law. Fiske's photographs of graphs abundant confirmation of those who hold that the the State's mismanagement of the Valley had played a decisive valley has not had the benefit of expert supervision ." On role in the preservation of wilderness areas as a national park . February 6th, the Nation published an article by Henry T . From the 1850s to the 1880 s, a general- Finck , who called for the preservation of the high Sierra as a ion of clergymen , scientists, painters, and photographers national park . He describes Johnson's collection of Fiske attempted to describe California's natural wonders . A free photographs as the ultimate proof of the Commissioners' interchange of ideas between these first interpreters of g malfeasance: Yosemite and the Big Trees created a rich, complex icon­ What takes the matter entirely ography. These brief, preliminary remarks are simply intended out of the field of controversy, to introduce a modern audience to the styles of a select group and shows that the allegations of photographers once active in the mountains of California, are bare facts, is the cir• to indicate some of the ways photographic information about cumstance that Mr. Johnson is in Yosemite and the Big Trees was disseminated to its original ig possession of about a hundred nineteenth-century audience, and to suggest that photographs Je photographs on which the sins played a significant role in the drafting and passage of seminal committed in the valley are re­ legislation in the history of our national park policy. d corded indelibly. We have seen these photographs, and can tes• tify from them and from personal observation last May that the strictures in the Century are not exaggerated or fanciful.

ed Three days before the Yosemite bill passed both houses of :r Congress, Harper's Weekly published another article on the Valley by Finck. It was accompanied by an impressive, ig oversize wood engraving based on a photograph by William ic H. Jackson. On June 2nd, Johnson had testified in n­ Washington before the House Committee on Public Lands, ;h, quoting from proofs of Muir's articles on the proposed national ,ed park "and showing photographs of the region ." The publica­ to- tion of Muir's articles in the August and September issues of the Century was calculated to coincide with the introduction s, of the Yosemite bill in Congress . Seven photographs by Fiske and two by Watkins are reproduced as wood engravings in the first article; the second contains wood engravings of ink sketches by William Keith . In the first article, another three photographs by Fiske are reproduced as halftones. An Paul Hickman is a Ph.D. candidate in editorial by Johnson cites his collection of photographs and photographic history at the University of New Mexico .

29 Hollywoodland:

Hollywood Photographers' Archive

David Fahey and Linda Rich Co -n1rator s

S,;r1photogmphm how mode a vital contribution to the film industry from its inception . From the I 92(fs, they created studio portraits, publicity photographs , picture essays and advertising messages in styles that uniquely identified each photographer. These photographers produced an enormous body of images which were far more significant than their original purpose. The names o f some of these photographers arc well-known, while others arc less so . The Hollr11·ood PhoWRraphers' Archil'e has been created to preserve their work, and presently contains the photographs of Ted Allen , John Florea . Allan Grant , Milton Greene, Paul Hesse, George Hurrell. Douglas Kirkland , Richard Miller , William Mortensen , Sanford Roth , Peter Stackpole , Phil Stern, John Swope , Gene Trindl, Bob Willoughby, Laszlo Willinger, Ida Wyman - and Sid Avery (whose photographs are reproduced on the following pages) . Copyri ght, Sid Avery These photographs provide an insight "James Dean " into the history and growth of Hollywood and Southern 1955 California. Collectively, the work is an extraordinarily v alu­ able visual record that reflects American styles, heroes , cultural values and political concerns of the twentieth century.

Copyright. Sid Aver y "Nat King Cole (Jack Palance and Gig Young in the Audience)" 1954 Copyright. Sid A very ··H umphrey Boga11 and Lauren Bacall .. 1952

Copyright. Side Avery

.. Alfred Hitchcock .. Copyright . Sid Avery 1957 .. Paul Newman and Joanne Woodward"' 1958

Sid Avery ( 1918 -) began his career as a photojournalist and had his work published in many period ­ icals, including Look and Lifemagazines. He opened a studio in Los Angeles and turned to advertising, serving major clients such as Chevrolet and Max Factor. His next transition was becoming involved with cinema. He has made both feature titles for motion pictures (Our Man Flynt , Falltastic Copyright. Sid A very Voyal(e) and commercials (Chrysler, Cordoba, Toyota). "Sid "Ronald Reagan with Jack Linkletter ·· Avery and Associates" continues an active business in Los 1957 Angeles today. hazards line of inquiry , and we trust the artist to and-too often overlooked-the gas size s communi- unusual units and ultraviolet know under what circum stance Book Reviews of carbon arc exposure mightexpec . Robert Fichter, combined with specific cation is most effective lamps when artist's worl however , is not constrained by any such chemicals. muchc large part of the with Once past the narrow allegiances , and a illustrations he makes comes from his general discussions, the technical data base wonder in what con­ lack clarity, as one could wish. ability to successfully reconfigure his is as specific and detailed reduction ir cerns in a number of ways. A consistent It includes photographic chemicals ranging factory tran sprays, processes flow of energy , intent , and iconography fron developers to aerosol a small nui: , which combines and color photography, ranges through his work in black-and-white intelligent!] s, non-silver painting, drawing, printmaking , assemblage, 19th-century printing processe of an artist photography. processes, and the photographic printmaking and Overexposure: Health Hazards , Gloria De~ lithography, and Robert Sobieszek in Photography processe s of etching, Kwikprinting-to name a few of the broade st in his very well-conceived and well-executed Susan Shaw ctory essay , characterizes Fichter ' s categories. Chemicals ar e grouped not only introdu Carmel, Califomia "narrative William1 according to their scientific classes , but also "agrarian Gothic" vision as a Friends of Photography, 1983 Souther 1 according to their functions­ accretion of fabulist artifacts and composite SB, $14.95 presented " Fichter alternatively appropriates lntroductlc which is how those of us with our hands in ironies. HB,$24.95 the surrounding flood of MIiierton,! them most often know them . Not included in th ese artifacts from s Aperture, 1 thermo- pop-culture trapping s and draws or paint Finally! A comp­ the data base are electrostatic and of his own mental HB,$40.0CI processes-something which the them as translations rehensive reference data base written for graphic work i s brash , irreverent , and author might profitably include should the imagery. The photographers and printmakers concerning If I could£ sometimes bawdy , often incorporating an materials of our profession . book go into a second printing. The data the chemicals and topography It would b, s-referenced by unleashed frenzy and social t, such information has been base is extensively cros In the pa s Red Grooms. As fragments decimal system that reminiscent of the work of hard to cross-index, or has means of a four-figure sketchy and , however , Fichter' s art earth , rec numbers not only every chapter, but every Sobieszek points out assumed a knowledge of chemistry and , phia not one of commitment or any precise iron subheading and paragraph. The book ends is environmental engineering. This reference excremem : an index effort at social reform or theorizing , but provides us with understand­ with two extremely helpful items text , however, , a taking-on of the chemical compositions of trade-name rather one of engagement able and useful information on both the to the with all senses sharpened . And Fichter berry deri chemicals, and a bibliography of current world immediate and long-term health effects from words of . between 1977 and makes his responses by whatever means suit the use of photographic chemicals, as well sources (most written at the time, content to be a prac- his collab 1982). This is a thorough and timely book . him best as safety precautions to be utilized with the LetUsN1 titioner of nearly everything. techniques of photographic Peter Thompson specialized Thematically, the printmaking and conservation. in 1959 o work evidences awareness of a wide variety The author, Susan upon a se of modem-age ills, most especially pollution Shaw, seems well-suited to the task of was inspi and militarism , and Fichter speaks of his translating science to photographers. She Robert Fichter: areaofH create "a melodramatic image that Photography and intent to holds two M.A. 's from Columbia University, Evans ha can telegraph my psychological feeling one in Film and Photography and the other Other Questions The subject is often the introc Sobieszek toward the world." in Environmental Science . She thoughtfully Edited by Robert A. Southern weighty and intense, heavy with foreboding, provides general introductions and historical Albuquerque invariably maintains a comedic mentiom of New Mexico Press, 1983 yet Fichter backgrounds to major chapters and subhead­ University year and stance, sucking the viewer into the carnival ings. We are introduced , for example, to the HB,$29.95 of his psyche . As a "Zen-proletarian" artist ~gee an! of toxicity, to the routes of entry meaning 's hope is time see The vast majority of (so he describes himself) , Fichter into the body, to the interdependence of tot connections through his art with ence try on a range of media in their forma­ to make bodily systems. On the basi s of those under­ artists d While he uses imagery which is mattere years , then settle into some relatively everyone. standings, she make specific recommenda­ tive upon the eclectic and very readily identifiable , his photo­ fixed relationship between ideas and tions concerning all aspects of the . and sho we reason , syntax is not routine , nor are his perceptions including choosing materials. A person photographs, graphic workspace, but it who wa: that art This art may spring from the familiar, materials, storage and handl­ because certain characteristics of relatively safe thought. people t channel for a particular is definitely not mainstream ing, ventilation systems, disposal techniques , process are the best

32 Ito The book is a rather Cravens makes the the end of the Confederacy , I just find it one 1muni­ unusual size (91/2" x 8½"), smaller than one point early in his introduction that the of the most beautiful places on earth." ter, might expect for a major review of an photographs are "what brings it all together." In discussing the uch artist's work, yet obviously put together But it is the place , too . So Cravens goes on intent of the artist , Cravens suggests an of the with much care . Some of the black-and-white to discuss Hale County , the Christenberry "urge to record change ... accompanied by n his illustrations of work originally in vivid color lineage development within it, and specific an equally strong need to preserve , to hold s con­ lack clarity, probably due in part to their pieces that the artist has created from this something of the landscape intact ," and :ent reduction in size, but mainly to their unsatis­ involvement with place . In tracing the relates Christenberry 's "search for signs" to ohy factory translation into monochrome . This is development of Christenberry as an artist, his "taking photographs-objects to be bines a small nuisance, however, in a book which Cravens also pays attention to his training as plucked at exactly the right moment, in the imblage, intelligently presents and assesses the work a painter and a sculptor at the University of right place ." Cravens see the thematic of an artist who well deserves our attention. Alabama, the influences which led him to concerns as centered on the "oldest , most !szek, Gloria DeFilipps Brush move to and subsequently from New York inescapable of human events-the simple :xecuted City, his meeting with Walker Evans while fact of succession." He deems succession a hter's there , his six-year stay in Memphis, Tennes ­ coming-to-terms with death on a grand ive William Christenberry: see, and finally the last fifteen years of work Southern scale rather than on an indi­ posite Southern Photographs and involvement with the Corcoran School vidualistic one, a loss of generations and nates Introduction by R.H. Cravens of Art in Washington, D .C. traditions, a reclamation "by the earth of all [ood of MIiierton, NY As far as placing that walk and all that is erected on it. " ints Aperture, 1983 Christenberry the photographer , Cravens Christenberry's work is viewed as meeting d HB,$40.00 sees him as a media "virtuoso" among those all the requisites of this kind of artistic nt, and devoted to Southern themes: Clarence John production : "His vision of Hale County , like ,g an If I could do it, I'd do no writing at all here . Laughlin (the surrealist master of New Faulkner 's of Yoknapatawpha, is of a small hy It would be photographs: the rest would be Orleans), the late Ralph Eugene Meatyard (a place so vividly populated and experienced ms. As fragments of cloth, bits of cotton, lumps of conveyor of human drama or staged fiction), that it does encompass a world unto itself­ ,er' s art earth, records of speech, pieces of wood and and William Eggleston (closest to Christen­ and one to which strangers far distant from :ise iron, phials of odors , plate of food and of berry, a Southern landscape photographer the place and its people can approach with JUI excrement. who "exacts from his subjects a lurid familiarity." n of the William Christen­ emotional excitement") . He designates The introductory . Fichter berry derived his artistic credo from these Christenberry as the classicist, "the pursuer text is accompanied with margin notes ms suit words of James Agee, written in 1936 for of the simple beauty of form existing in the containing remarks by the artist about his rac- his collaborative project with Walker Evans, Southern landscape ." He then includes family, his work, his sign-collecting and Let Us Now Praise Famous Men. Christenberry's explanation that as an artist picture-taking, his attraction to the subject , the The story goes that he needs the perspective of being 900 miles matter, epithets about specific pieces and ariety in 1959 or 1960, Christenberry chanced away from his birthplace (with an opportunity places, and some seemingly contradictory Jllution upon a second-hand copy of this book and to visit annually) to "photograph and forage remarks about formal concerns in art . his was inspired to photograph his hometown for signs and materials." The seventy color e that area of Hale County, Alabama, as Agee and Craven s examines photographs follow arranged in chronological 1g Evans had done over twenty year s before . In the role of poetry in Christenberry ' s work : order : Brownie pictures from 1961-1979 and :n the introduction to William Christenberry : Walker Evans wrote of Christenberry' s 8 x IO work from 1977-1981 . The reproduc­ ooding, Southern Photographs, R.H. Cravens photographs that "each one is a poem," and tion quality is quite good, with the smaller nedic mentions that the artist was born in the same Walker Percy described them as "poetic picture s printed one to a page , titled and rnival year and in an area adjacent to that in which evocations of a haunted countryside-seeing dated, and divided into several groupings, artist Agee and Evans were working. I have a hard the sometimes rather elaborate titles such as the logic of which escapes me . The later , ~pe is time seeing the significance of that in refer­ "Grave with Bed as Marker , near Faunsdale, larger work is shown full page , with titles ith ence to these photographs, but it must have Alabama" as establishing the sequence, and dates on adjacent pages . ch is mattered to Christenberry when he happened hency the narrative of the Hale County The earlier pictures his upon the book , recognized his homebase , Landscape ." He excepts one picture as a seem more successful in terms of image ,ptions. and showed the pictures to his grandmother, "pure landscape "- 'Bloody Pond, Shiloh quality; by that I mean something dealing but it who was immediately able to recall the Battlefield , Tennessee ,' quoting Christen­ with level of interest, not detail. Though by people by name . berry on it: "It's not about the Civil War, or nature of the machine involved , the view-

33 camera work is clearer, better defined , yet it in more way s than one more outside the Christenberry himself said that his photo­ is less successful. Since Cravens singled out culture he documents than James Agee or graphs were "nothing more than a straight­ that "one pure landscape " of Shiloh, so will Walker Evans. forward response to something that I see." I. It is clear evidence of what Christenberry Eggleston ' s often- Georgia Smith can accomplish with the Deardorff, but to repeated remark about formal concerns is me the large format works are basically a that his pictures are based compositionally travelogue-indicators of place with only a on the Confederate Flag. More seriously, suggestion of what is interesting to see there. Szarkowski thought that Eggleston's work Since Cravens "obliterated" the formal and descriptive Books and Book Reviews: mentions Eggleston as close to Christenberry meanings of color. Christenberry remarks: Exposure wishes to review material relevant in terms of work and personal relationship, I "I've never actually thought about the color to serious photography, particularly books wish to make mention of William Eggleston' s until afterward, when the print came back" ; or catalogues about/by members of the SPE. Guide. The Guide seems to me to be fiction, "I don't think most people who make color The journal is seeking interested Southern-style, complete with a strange photographs , if they 're halfway decent reviewers as well. Please address all inquiries and element of truth, or at least a consistency pictures, really think color, not consciously"; review material to Jan Zita Grover, Book with what is true. The pictures there are also " If I have any sense of color it's all intuitive. Review Editor, Exposure, Department of titled only by place, the viewpoint is again I've never really studied or cared much Photography, Columbia College, 600 South obviously regional , but the vision is more about color theory ." His descriptions of his Michigan Avenue, Chicago, Illinois 60605- inward and insular, more subjective. In subject-matter in other media , however , are 1996. contrast, even in the early and most success­ rife with color consciousness: "Part of the ful work, Christenberry has taken a stance interest is the color,"; "those crepe-paper that is far more objective and somehow wreaths were dripping with colors-laven­ false. The 'toy' camera used in the early ders and pinks and reds. Just beautiful. I work, with its distortion and modulation of made a big painting, an attempt to express image, provides the only subjectivity con­ what I saw in the dripping colors .. the tained in the photographs. mound of red earth ... " Taking into account Eggleston did have his own words and the fact that his first use John Szarkowski to help lend coherence to of photography was as a reference tool for his vision , and Szarkowski is a very seductive painting-in other words, even without the writer. Between them, I think they did obvious evidence of the photographs-I find succeed in making literature out of photo­ it hard to believe that color is not a primary graphy. The Guide is a documentation of concern of his photography, that it is all place, but over half the pictures contain after the fact. What we seem to have here is people, who serve the purpose of character. yet another Southern photographer being The sequencing of the images implies time deliberately disingenuous . or narrative-the latter is not a matter only I realize that his of titling , as Cravens suggest. We are work was of a "rephotographic " nature at its guided to both the place and the people and very inception , but no real correlation is the life that is lived there by them. developed between the work of Evans and /or Which brings me Agee, whose words Christenberry cites as back to the South: I am a Southerner. I the original inspiration. Agee and Evans suspect that just as Christenberry was stirred intended to record life-Christenberry may Book Reviews by the recognition of people and places in only seek and succeed in recording a record. Let Us Now Praise Famous Men , I, too, am The photographs are Peter Thompson is the director of the attracted to and feel a right to some exclusive handsome documents, they are Southern, Generative Systems Workshop at Columbia understanding of both Southern Photographs they may well be more. It seems to me, College, Chicago. and the Guide, particularly the latter, since it however, that too much has been made of Gloria DeFilipps-Brush teaches documents my hometown and its environs. I these pictures ; they suffer more by not being photography at the University of Minnesota­ would say that Eggleston 's response to allowed to stand on their own, by Cravens' Duluth. similar material is more substantial than trying to make something that is history Georgia Smith lives in Santa Fe, New Christenberry' s. Christenberry does not serve the purpose of poetry , than by being Mexico, where she is working on a critical occupy the role of the insider ; in fact, he is left to speak for themselves. William study of Willard Van Dyke 's work .

34 Sir: meaning. In exchange, the artists should not Letter to the Editor With reference to "Counting On The Odds" have reinforced his attitude by not appearing by Peter Thompson in Exposure 21: I, Mr. in clothes more appropriate to such an Thompson appears to vent his inner hurts occasion. Rebellion or not, there are times upon Big Business as though they were the when adults behave as adults. In this instance, enemy instead of particular individuals. He they would have demonstrated how much sets up a group to be known as TECH­ they cared about their works, by wearing NOLOGISTS, and then proceeds to establish more than their everyday clothes for it was a system of logic. Statement after statement not an everyday event. It was a moment to of opinion is delivered in an axiomatic be proud, and pride in themselves should manner so as to lay the basis for his argument. have been selfevident in their manner and He then tilts against these selfcreated an­ appearance. Did the Artist allow themselves tagonists to make them appear unfeeling, to get to know the Technologists. or was illogica l and tunnelvisioned. However, the their resentment so transparent as to create technological achievements of corporations an unbridgeable chasm? such as Xerox , 3M, Polaroid , Eastman As for the Chair­ Kodak, etc. are possible because of en­ man, perhaps it should be required of him, gineering vision and dreams. The computer every morning before commencing his day, industry , and software in particular , is based to read the story of how Xerography was on the kind of freethinking and vision invented ; to review the frustration of the possessed by artists . An engineer experiences inventor in trying to find a company with the same inner exa ltation as an artist when enough vision to see the future, and then he trans lates a designer's dream into a how a small firm with a big reputation for functioning reality. He has added his qua lity, Haloid , decided to gamble. Perhaps freethinking to utilize natural and mathemat­ then, he might come out of the clouds and ical laws, in endless combinations, to create mingle among other men, for he is no a practical, useful device. But let us look different than they except for the position of closely at what really happened. trust he has accepted. To begin, the The entire issue of gaucherie of the Chairman of the Board of Exposure 21: I was outstanding and thought Xerox is purely his problem. Having lost his provoking. It looked at the future and just sense of humility in the heady atmosphere of glimpsed the vast changes that are coming. the Executive Suite, he has comp letely The possibi lities are limitless if mankind can forgotten how to act properly when honoring avoid self destruction. a group of artists se lected for a show . The dinner, comp lete with all the excesses the Top Echelon can bestow on themselves , should not have been in honor of the execu­ Respectfully yours, tive for thinking about the show , or for A.E. Revzin having the means to put it on, but rather for 79 Parkview Road those whose creat ivity gave it life and Elmsford, NY 10523

35 Back Issues

Listed below are the issues that are still 16:3 Rothstein, FSA , Yoruba available . Some of these (in particular, the Photographers, Talbot, $3.00 earlier issues) are in very short sup ply ; the 16:2 Resnick, Photographs and more recent issues may be obtained in History, Coleman, Lange, quantity for classroom or other uses . $3.00 16:1 Photo Album as Folklore, 21:4 NEWHISTORIES , $5.50 Harold Allen , Walker Evans, 21:3 PHOTO-OFFSETISSUE, $5.50 $3.00 21:2 Samore , Photography and 15:4 Criticism, Heinecken , Offset Industrialization, lantern slides, Portfolio, $3.00 Postmodernism , flash 15:2 Ansel Adams , Atget, Hume, photography , $5 .50 Sayer, $3.00 20:4 Sex as Subject, John 14:4 Outerbridge , Patterson, Kouwenhoven, $3 .00 Malcolm, Rejlander, $3.00 20:3 Color Stability , Jacob Riis , 14:4 Minor White, Realism, John Pfahl, MFA Survey, $3.00 Monographs, Fruend, $3.00 20:2 John G. Morris Memoir , Van 13:1,3,4 $6.00 Deren Coke Interview , $3.00 19:4 Pencil of Nature II , lmo's Photographers, Bibliography, To order, send no money now: simply $3.00 indicate the quantity of each issue you 19:3 WOMEN IN PHOTOGRAPHY : would like to receive. You will be billed for Lacy, Clarke, Bibliography those issues that are available, plus postage Portfolio , $3.00 charges. Allow 4-6 weeks for delivery. 19:2 Black Stereotypes : Wright Send orders to Society for Photo­ Morris, Bravo, Reflections graphic Education, P.O. Box 1651, Portfolio , $3.00 FDR Post Office, New York, NY 19:1 Varnadoe, JoeJachna, John 10150. Divola, Marked Landscapes Portfolio, $3.00 18:3/4 TEACHING PHOTOGRAPHY: Double Issue, 32 Authors, $9.95 18:2 R. Adams, Greeting Cards, WestCoast50s , Steichen, $3.00 18:1 Brumfield, Schlereth, Searle, Estabook, $3.00 17:4 Snapshots, Advertising , Polaroid, Walter Benjamin, $3.00 17:3 Noggle, Reece, Misrach, Stereoscopy, Rephotography, $3.00 17:2 Shorr , Siegel , Heinecken , H.H . Smith, $3.00 17:1 B. Davidson, Rosier on Audience, Bonfil s, $3.00 16:4 Kozloff, Indian Photos, Criticism, China, Hungary , $3.00