Nevada – Art Blart _ art and cultural memory archive

European photographic research tour exhibition: ‘Robert Frank. Unseen’ at C/O Berlin

Exhibition dates: 13th September – 30th November 2019

Visited September 2019 posted January 2020

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin

Utopian dreaming / dystopian dreams

Synchronicity… when I visited this exhibition on the 16th September 2019, the grand man had only died the previous week on the 9th September 2019.

This was a fabulous exhibition of mainly VINTAGE prints (see labels) at C/O Berlin, with the added bonus of seeing many Robert Frank photographs I had never seen before.

Thoughts

1/ The vintage prints were much larger than I had thought they would be

2/ The English photographs were very impressive. A similar tonal range to Josef Sudek’s prints in these works i.e. no hard blacks or whites zones 2.5-8

3/ The Americans – to actually see a large vintage print of the Trolley Car was incredible. The Black American man’s face was only his mouth, nose and eyes, the rest was completely dark

4/ The vintage prints seemed more whimsical than the later prints: not so much contrast. Sometimes edges bleed off, grain was large, depth of field low, skylines askew. Frank loved his silhouettes and chiaroscuro

It was a great pleasure to see these iconic photographs together in one place. Several times I had to catch my breath as one famous image followed another. But then there were images I had never seen before. Mostly vintage prints as well… as close to Frank’s original vision as you can get. More poetic, more spontaneous, than the later prints. The United States photographs form a road trip of impressions, a reflective and elegiac poem to the American dream.

It’s not often that you can say that an artist changed how we see and interpret the world but that is the case. Through his seminal work The Americans, Frank’s importance to the history of photography and visual culture cannot be denied. Americans didn’t like the mirror that was held up to their society by an outsider, a European Jew. Frank certainly wasn’t afraid to picture the underbelly of America – a phlegmatic portrait of a disaffected and divided country that still has great relevance today.

Dr Marcus Bunyan

All installation photographs by Marcus Bunyan. Please click on the photographs for a larger version of the image.

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin showing photographs titled Landsgemeinde / Cantonal Assembly Hundwil, Schweiz (1949). Later silver gelatin prints. No individual titles. Donation of the artist.
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Landsgemeinde / Cantonal Assembly Hundwil, Schweiz (installation views)
1949
Gelatin silver photograph, later print
Donation of the artist
Photos: Marcus Bunyan

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Peru (installation view)
1948
Gelatin silver photograph, later print
Collection Fotomuseum Winterthur
Permanent loan of the Volkart Stiftung
Photo: Marcus Bunyan

Robert Frank. Unseen wall text
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Geneva (installation view)
1945
Gelatin silver photograph, later print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Geneva (installation view)
1944-1945
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
New York
c. 1949
Vintage silver gelatin print
Donation of the artist

Robert Frank (Swiss-American, 1924-2019)
Times Square, New York (installation view)
1949
Gelatin silver photograph, later print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank. Unseen wall text
Photo: Marcus Bunyan

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Portfolio. 40 Photos (installation views)
1941-1946
First Edition Steidl, Göttingen, 2000
Photos: Marcus Bunyan

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Mississippi, St Louis (installation view)
1948
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Paris (installation view)
1949
Gelatin silver photograph, later print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Paris (installation view)
1949
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Mary and Pablo, New York (installation views)
1951
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photos: Marcus Bunyan

Robert Frank (b. 1924 in Zurich, d. 2019 in Nova Scotia, Canada) traveled thousands of kilometres between America’s East and West coasts, taking almost 30,000 photographs. Just 83 black-and-white pictures from this mixture of diary, social portrait, and photographic road movie have influenced generations of photographers after him. Frank’s book The Americans was first published in Paris before it was released in the United States in 1959 with an introduction by the Beat novelist Jack Kerouac. Oblique angles, cropped figures, and blurred movement became the hallmarks of a new photographic style that would change the course of postwar photography. In 1985, Franks photographs have been displayed in Germany for the first time – in the Amerika Haus in Berlin. Now, C/O Berlin presents contact sheets, first editions, and vintage material from the photographer’s early work at the same place. His time in Switzerland, travels through Europe and South America, and unpublished pictures from the United States in the 1950s will be shown together with famous classic photos from The Americans.

Robert Frank. Unseen reveals the narrative power of a visual language that Frank developed long before it earned him international recognition.

The exhibition was organised in cooperation with the Fotostiftung Schweiz, Winterthur.

Robert Frank was born in Zurich in 1924. A trained photographer, he traveled to New York for the first time in 1947, where he found a position at the Harper’s Bazaar photo studio. He worked between Europe and the US for several years and in 1950, Edward Steichen invited him to participate in the 51 American Photographers exhibition at Museum of Modern Art, New York. Frank freelanced for Life, McCall’s, Look, Vogue and other magazines. In 1955, he was the first European to receive a prestigious Guggenheim fellowship that funded a comprehensive photo series for which he traveled across America. The result was the seminal photobook The Americans (1959). Following the volume’s unexpected success, the photographer turned to film. His later work juxtaposed Polaroids and autobiographical text fragments. This year Frank published his most recent book, Good Days Quiet, at the age of 95. Frank’s photographs have been exhibited internationally, most recently at Les Rencontres d’Arles (2018); Albertina, Vienna (2018); Art Institute of Chicago (2017); Museum Folkwang, Essen (2014); and at Tate Modern, London (2004). His films were shown at C/O Berlin in 2009. Robert Frank lived in New York and in Nova Scotia, Canada, where he died on September 9, 2019.

Text from the C/O Berlin [Online] Cited 28/12/2019

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin showing at bottom, photographs of London
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
London (installation view)
1951
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Paris (installation view)
1949
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photo: Marcus Bunyan

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin showing at right a photograph of London
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
London (installation view)
1951
Vintage gelatin silver print
Arnold Kübler Archive
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
London
1951
Vintage gelatin silver print
Arnold Kübler Archive

Robert Frank (Swiss-American, 1924-2019)
London (installation views)
1951
Gelatin silver photographs, later prints
Permanent loan of the Friends of the Fotostiftung Schweiz
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
London
1951
Gelatin silver photograph, later print
Permanent loan of the Friends of the Fotostiftung Schweiz

Robert Frank (Swiss-American, 1924-2019)
Paris
1952
Gelatin silver photograph, later print
Donation of the artist

America

Robert Frank. Unseen wall text
Photo: Marcus Bunyan

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin showing at left, Nevada (1956); at second left, Los Angeles (1956); and at right, On the road to Carolina (1955)
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Nevada (installation view)
1956
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Los Angeles (installation view)
1956
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
On the road to Carolina (installation view)
1955
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Route US 91, leaving Blackfoot, Idaho (installation views)
1956
Gelatin silver photograph, later print
Donation of the artist
Photos: Marcus Bunyan

Robert Frank (Swiss-American, 1924-2019)
Route US 91, leaving Blackfoot, Idaho
1956
Gelatin silver photograph, later print
Donation of the artist

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin showing at left, Florida (1956); at third left, New York City (early 1950s); and at right, Ranch Market, Hollywood (1955-1956)
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
New York City (installation view)
early 1950s
Vintage gelatin silver photograph
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Florida (installation view)
1956
Gelatin silver print
Swiss Foundation for Photography Collection, Winterthur
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Florida
1956
Gelatin silver print
© Robert Frank
Courtesy Swiss Foundation for Photography Collection, Winterthur

Robert Frank (American, 1924-2019)
New York City (installation view)
early 1950s
Vintage gelatin silver photograph
Donation of the artist
Photo: Marcus Bunyan

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin showing at left, Bar – Gallup, New Mexico (1955) and at right, Rodeo – New York City (1954)
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Rodeo – New York City (installation views)
1954
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photos: Marcus Bunyan

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin showing at right, Charity Ball, New York 1954
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Charity Ball, New York (installation views)
1954
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photos: Marcus Bunyan

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin showing at left in the bottom photograph, Bar – New York (1955) followed by, Yom Kippur – East River, New York City (1954)
Photos: Marcus Bunyan

Robert Frank (American, 1924-2019)
Los Angeles (installation view)
1956
Vintage gelatin silver photograph
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Wanamaker Fire, 10th Street East, New York (installation view)
1956
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Bar – New York (installation view)
1955
Gelatin silver photograph, later print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Bar – New York
1955
Gelatin silver photograph, later print
Donation of the artist

Robert Frank (American, 1924-2019)
Yom Kippur – East River, New York City (installation view)
1954
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
USA (installation view)
1950s
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Contact Sheet 62 / Factory, Detroit (installation views)
1955
From The Americans. 81 Contact Sheets.
Yugensha, Tokyo/Motomura Kazuhiko, 2009
Private Collection
Photos: Marcus Bunyan

Robert Frank (American, 1924-2019)
Contact Sheet 31 / U.S. 91, Leaving Blackfoot, Idaho (installation views)
1956
From The Americans. 81 Contact Sheets.
Yugensha, Tokyo/Motomura Kazuhiko, 2009
Private Collection
Photos: Marcus Bunyan

Robert Frank (American, 1924-2019)
Contact Sheet 18 / Trolley, New Orleans (installation views)
1955
From The Americans. 81 Contact Sheets.
Yugensha, Tokyo/Motomura Kazuhiko, 2009
Private Collection
Photos: Marcus Bunyan

Installation view of the exhibition Robert Frank. Unseen at C/O Berlin showing wall text
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Bryant Park, New York (installation view)
around 1955
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
42nd Street, New York (installation view)
early 1950s
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
41st Street and 7th Avenue (installation view)
1953
Vintage gelatin silver print
Donation of the artist
Photo: Marcus Bunyan

Robert Frank (American, 1924-2019)
Les Américans book cover and pages (installation views)
1958
Delpire. Paris

Robert Frank (American, 1924-2019)
Gli Americani book cover (installation view)
1959

Robert Frank (American, 1924-2019)
The Americans book cover and pages (installation views)
1959
Grove Press, New York

Robert Frank (American, 1924-2019)
Trolley – New Orleans (installation view)
1955
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photo: Marcus Bunyan

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin showing at left, Parade – Hoboken, New Jersey (1955) and at right, City Fathers – Hoboken, New Jersey (1955)
Photos: Marcus Bunyan

Robert Frank (American, 1924-2019)
Parade – Hoboken, New Jersey (installation view)
1955
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photo: Marcus Bunyan

(American, 1924-2019)
City Fathers – Hoboken, New Jersey (installation views)
1955
Vintage gelatin silver print
Property of the Confédération Suisse, Federal Office of Culture, Bern
Photos: Marcus Bunyan

Installation views of the exhibition Robert Frank. Unseen at C/O Berlin
Photos: Marcus Bunyan

C/O Berlin Foundation, Amerika Haus,
Hardenbergstraße 22–24, 10623 Berlin
Phone: +49 30 2844416 62

Opening hours:
Daily 11am – 8pm

C/O Berlin website

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Exhibition: ‘Timothy H. O’Sullivan: The King Survey Photographs’ at the Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 7th April – 2nd September 2012

Timothy O’Sullivan (American, 1842-1882)
Sand Dunes, Carson Desert, Nevada
1867
Albumen print
Gift of Hallmark Cards, Inc.

Of all the photographers who accompanied the Western surveys of this era, O’Sullivan remains the most admired, studied and debated. This is a result of the distinctly individual quality of his seeing – his particular union of fact and point of view; his understanding of what it meant to make a documentary photograph. O’Sullivan’s work remains inspiring and instructive: the clues it holds – to the nature of photography, 19th-century visual culture and the construction of photographic history – challenge and enlarge each new generation of viewers. ~ Press release

About the only decent sized Timothy O’Sullivan photographs online are here on Art Blart – in this posting and one I did earlier of Framing the West: The Survey Photographs of Timothy H. O’Sullivan at the Smithsonian American Art Museum. Although some of the photographs from the earlier posting are reproduced again here there are also four new ones, and for that we should be thankful for there are so few quality images to look at on the web.

Following my last posting where I ruminated on the nature of photography, we note that O’Sullivan’s understanding of what it meant to make a documentary photograph was embodied in his distinctly individual way of seeing. As the above quotation observes, this was “his particular union of fact and point of view.” With this in mind, the photograph I would like you to focus on in this posting is the last one: a prescient abstract expressionist photograph almost eighty years before their advent. The fallen beams remind me of huge ice crystals in a rock cave and then you notice the pick axe at top left and leg and booted foot at right. Hang on a minute, there is another foot tucked underneath!

To have the temerity to photograph this scene in this way and this point in time in the history of photography is outstanding. Imagine being O’Sullivan coming upon this vista, framing the cave-in with beams at left and right of the image plane and detritus at the bottom. He could have left it at that, but no, he hints at the presence of a man, out of frame, doing what exactly we don’t know. It is this plaisir and jouissance that give this photograph its pleasure and pain. The knowledge that we know this scene, as the subject knows himself or herself, gives the photograph its pleasure; the fact that we don’t know what is beyond the edge of the frame, who the man is and what he is doing, fractures these structures and challenges the readers position as subject. As the viewer transgresses the act of pleasurable looking, of enjoying the formal characteristics and textures of the photograph, doubt sets in – what is the man doing, why is he there? As we transgress the pleasure principle the painful principle of what Lacan calls jouissance kicks in. The viewer suffers a crisis of doubt and, conversely, the pattern of the fallen beams of wood and the axe now create a more threatening, claustrophobic atmosphere.

Dr Marcus Bunyan

.
Many thankx to the Nelson-Atkins Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Timothy O’Sullivan (American, 1842-1882)
Pyramid and Domes, Pyramid Lake, Nevada
1867
Albumen print
Gift of Hallmark Cards, Inc.

Timothy O’Sullivan (American, 1842-1882)
Geyser Mouth in Ruby Valley, Nevada
1868
Albumen print
Gift of Hallmark Cards, Inc..

Timothy O’Sullivan (American, 1842-1882)
Cañon de Chelle, Walls of the Grand Canon about 1200 feet in height
1873
Albumen print
Smithsonian American Art Museum
Museum purchase, from the Charles Isaacs Collection made possible in part, by the Luisita L. and Franz H. Denghausen Endowment

The photographs made by Timothy H. O’Sullivan as part of the United States Geological Exploration of the Fortieth Parallel, or King Survey, comprise an iconic and richly varied body of work. The first of the great post-Civil War Western expeditions, the King Survey was organised under the authority of the U.S. Army Topographical Engineers. Between 1867 and 1872, Clarence King, the geologist in charge, and his party studied a vast swath of terrain, approximately 100 by 800 miles, encompassing the path of the soon-to-be-completed transcontinental railroad, from the border of California eastward to Cheyenne, Wyoming.

The survey’s official photographer, Timothy H. O’Sullivan, was talented, resourceful and imaginative. In four seasons with King’s group – 1867, 1869 and 1872 – he created a diverse body of photographs: geological studies, landscapes, views of miners and mining operations, records of cities and settlements, studies of the survey itself and self-reflexive meditations on his own presence in the West.

Of all the photographers who accompanied the Western surveys of this era, O’Sullivan remains the most admired, studied and debated. This is a result of the distinctly individual quality of his seeing – his particular union of fact and point of view; his understanding of what it meant to make a documentary photograph. O’Sullivan’s work remains inspiring and instructive: the clues it holds – to the nature of photography, 19th-century visual culture and the construction of photographic history – challenge and enlarge each new generation of viewers.

The King Survey of the Great Basin, from 1867 to 1872, was the model for the other “great surveys” of the 19th-century American West. Rare and iconic works by Timothy H. O’Sullivan, the King Survey’s official photographer, will be featured in an exhibition at The Nelson-Atkins Museum of Art from April 7 through Sept. 2. Keith F. Davis and Jane L. Aspinwall, respectively senior and assistant curators of photography at the Nelson-Atkins, organised Timothy O’Sullivan: The King Survey Photographs.

“There is good reason that O’Sullivan remains so influential after all these years,” said Davis. “Visually speaking, he was the world’s greatest poker player. He always kept his cards close to his vest. His images are at once boldly straightforward and deeply mysterious, a perfect combination of intuition and calculation. His genius lies, in part, in making such originality appear so effortless.”

There are 60 photographs in the exhibition. Nine were borrowed from the American Geographical Society in Milwaukee, WIS; and the remainder are from the holdings of the Nelson-Atkins. Accompanying the exhibition is a major book, co-authored by Davis and Aspinwall, with contributions by three esteemed scholars: John P. Herron, Francois Brunet, and Mark Klett.

“O’Sullivan continues to influence generations of photographers because of his purely individual melding of fact and point of view,” said Aspinwall. “He was a complicated character, a hearty adventurer, a photographic explorer and innovator, with a bit of the daredevil thrown in the mix.” The book emphasises the context of O’Sullivan’s photographs: his best known images in relation to the complete body of his survey work, the function of the photographs within the survey enterprise, and the scientific and cultural importance of the survey itself. In creating the book, Davis and Aspinwall became engaged in their own kind of “survey,” working from opposite ends of the subject back toward a common centre.

“Jane focused on the evidence of the photographs themselves, tracking down every view and putting them into chronological order,” said Davis. “I began with an overview of the history of western exploration and then attempted to describe the King Survey and O’Sullivan’s career in detail. The meeting point, the crux of the whole project, was O’Sullivan’s remarkable photographs.” Davis became fascinated with O’Sullivan’s work 40 years ago, and his respect for the richness and longevity of his work has increased over the years. “Someone once said that writing a biography usually entails a process of ‘falling out of love’ with one’s subject,” said Davis. “That’s absolutely not true in this case. This exhibition and book have resulted in a newer and deeper admiration for a truly one-of-a-kind photographic achievement. That’s O’Sullivan’s gift to us – and we want to share it. Timothy H. O’Sullivan: The King Survey Photographs gives visitors a new appreciation of the visual history of the 19th-century American West, while presenting some of the museum’s rarest treasures for public view.

Press release and text from the Nelson-Atkins website

Timothy O’Sullivan (American, 1842-1882)
Lake in Conejos Cañon, Colorado
1874
Albumen print
Library of Congress, Prints and Photographs Division

Timothy O’Sullivan (American, 1842-1882)
Cottonwood Lake, Wasatch Mountains, Utah
1869
Albumen print
Gift of Hallmark Cards, Inc.

Timothy O’Sullivan (American, 1842-1882)
Shaft of Savage Mine, Virginia City, Nevada
1868
Albumen print
Gift of Hallmark Cards, Inc.

Timothy O’Sullivan (American, 1842-1882)
Cave-in, Gould & Curry Mine, Virginia City, Nevada
1868
Albumen print
Gift of Hallmark Cards, Inc.

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Thursday – Monday 10am – 5pm
Closed Tuesdays and Wednesdays

The Nelson-Atkins Museum of Art website

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Exhibition: ‘Out of the Forest: Art Nouveau Lamps’ at the Nevada Museum of Art, Reno

Exhibition dates: 11th February – 20th May 2012

The Duffner & Kimberly Company
Lamp with Nasturtium Motif
Early 20th century
Collection of Dr. Byron Vreeland
Photo courtesy Christopher Martin

I always love the beauty of a great light. I have some fantastic examples at home, mainly Italian (including the Tizio lamp created by Richard Sapper for Artemide in 1972 and a Pipistrello Lamp by Gae Aleunti, 1966) so I couldn’t resist publishing these photographs of Art Nouveau lamps. They are just magnificent!

This exhibition features 20 exquisite lamps manufactured in the early twentieth century by Tiffany Studios, Handel, Durand, and Duffner & Kimberly. The exhibition focuses on themes related to the Art Nouveau style and its inspiration in nature. Discussion will also unfold related to various companies who competed for customers to sell lamps at the turn of the century and the competition between them. The exhibition will also explore the intricate copper foil production process used for the creation of glass lamps. All of the objects in Out of the Forest are from the private collection of Byron Vreeland.

Dr Marcus Bunyan

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Many thankx to the Nevada Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.