Posts Tagged ‘What Is a Photograph?


Exhibition: ‘Transformational Imagemaking: Handmade Photography Since 1960’ at CEPA Gallery, Buffalo, NY

Exhibition dates: 19th September – 13rd December 2014

Artists: Thomas Barrow, Wayne Belger, Stephen Berkman, Matthew Brandt, Dan Burkholder, Darryl Curran, Binh Danh, Rick Dingus, Dan Estabrook, Robert Fichter, Robert Flynt, Judith Golden, Betty Hahn, Robert Heinecken, Robert Hirsch, Catherine Jansen, Harold Jones, Tantana Kellner, Les Krims, William Larson, Dinh Q. Lê, David Lebe, Martha Madigan, Curtis Mann, Stephen Marc, Scott McCarney, Chris McCaw, John Metoyer, Duane Michals, Vik Muniz, Joyce Neimanas, Bea Nettles, Ted Orland, Douglas Prince, Holly Roberts, Clarissa Sligh, Keith Smith, Jerry Spagnoli, Mike & Doug Starn, Brian Taylor, Maggie Taylor, Jerry Uelsmann, Todd Walker, Joel-Peter Witkin, John Wood.

Curator: Robert Hirsch



Vik Muniz. 'Picture of Dust' 2000


Vik Muniz (Brazilian, b. 1961)
Picture of Dust (Barry Le Va, Continuous and Related Activities; Discontinued by the Act of Dropping, 1967, Installed at the Whitney Museum in New Sculpture 1965-75: Between Geometry and Gesture, February 20-June 3, 1990)
From the series The Things Themselves: Picture of Dust
Framed, overall: 51 x 130 1/2 inches
Two silver dye bleach prints (Ilfochrome)
Whitney Museum of American Art, New York;/Licensed by VAGA, New York, NY



The resurgence of handmade photography in the 1960s had several sources and influences. It looked back to the “anti-tradition” of nineteenth-century romanticism, which accentuated the importance of making a highly personal response to experience and a critical response to society. It drew on contemporary popular culture. Many of the artists engaged in this movement were baby-boomers brought up on television and film, media that often portrayed photography as hip and sexy – eg. the film Blow-Up (1966) – and which drove home the significance of constructed photographic images. In addition, the widespread atmosphere of rebellion against social norms propelled the move toward handwork. The rejection of artistic standards in photography was consistent with the much broader exploration of sexual mores and gender roles that took place in the sixties. It was also consistent with the exploration of consciousness. The latter was encouraged by such counter-culture figures as Ken Kesey who, with his band of Merry Pranksters, boarded a Day-Glo bus called “Further” and took an LSD-fuelled trip across the country that echoed Dr. Timothy Leary’s decree “to tune in, turn on, and drop out.” On a broader level, the society-at-large was exposed to psychedelic exploration through Stanley Kubrick’s film 2001: A Space Odyssey (1968), which youthful audiences saw as a mysterious consciousness-expanding trip into humanity’s future. Finally, handmade photography was supported by the general growth of photographic education in the university. The ubiquity and importance of the medium in the culture at large, as well as pressure from those who championed photography from within art institutions gave credence in the post-war decades to the idea that people could study photography seriously. As new photography programs mushroomed in the universities, they produced graduates who took teaching positions in even newer programs. Many of these young teachers, who had grown up to the adage of “do your own thing,” were responsive to unconventional ways of seeing and working, and they encouraged these attitudes in their students, many of whom turned to handmade photography.

Despite the attractions of handmade photography there were in the sixties, and still are to some degree, emphatic objections to the open engagement of the hand in photographic art. One common objection is that such art constitutes a dishonest method to cover up aesthetic and technical inadequacies. Another comes from those who believe strongly in the Western tradition of positivism. These people tend to reject handmade photography on the grounds that it is unnecessarily ambiguous or irrational in its meanings. Nevertheless, more artists than ever are currently using the flexible, experiential methods of handwork. In addition to opening up an avenue to inner experience, artists find handwork attractive because it promotes inventiveness, allows for the free play of intuition beyond the control of the intellect, extends the time of interaction with an image (on the part of both the maker and the viewer), and allows for the inclusion of a wide range of materials and processes within the boundaries of photography…

[Curator] Peter C. Bunnell’s innovative exhibitions [MoMA: Photography as Printmaking (1968) and Photography Into Sculpture (1970)] demonstrated that in essence photography is nothing more than light sensitive material on a surface. The exhibitions also recognized that the way a photograph is perceived and interpreted is established by artistic and societal preconceptions about how a photographic subject is supposed to look and what is accepted as truthful. The work in the Bunnell exhibitions was indicative of a larger zeitgeist of the late 1960s that involved leaving the safety net of custom, exploring how to be more aware of and physically connected to the world, and critically examining expectations with regard to lifestyles…

In spite of post-modernism’s assault on the myth of authorship and its sardonic outlook regarding the human spirit, artists who produce handmade photography continue to believe that individuals can make a difference, that originality matters, and that we learn and understand by doing. They think that a flexible image is a human image, an imperfect and physically crafted one that possesses its own idiosyncratic sense of essence, time, and wonder. Their work can be aesthetically difficult, as it may not provide the audience-friendly narratives and well-mannered compositions some people expect. But sometimes this is necessary to get us to set aside the ordained answers to the question: “What is a photograph?” and allow us to recognise photography’s remarkable diversity in form, structure, representational content, and meaning. This acknowledgment grants artists the freedom and respect to explore the full photographic terrain, to engage the medium’s broad power of inquiry, and to present the wide-ranging complexity of our experiences, beliefs, and feelings for others to see and contemplate.

Extract from Flexible Images: Handmade American Photography, 1969-2002 by Robert Hirsch (2003) on the Light Research website [Online] Cited 14/11/2014. First published in The Society for Photographic Education’s exposure, Volume 36: 1, 2003, cover and pages 23-42. © Robert Hirsch 2003

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



Thomas Barrow. 'Dart, Albuquerque' 1974


Thomas Barrow (American, b. 1938)
Dart, Albuquerque
Fuji Crystal Archive Print


Thomas Barrow. 'f/t/s Cancellations (Brown) - Field Star' 1975


Thomas Barrow (American, b. 1938)
f/t/s Cancellations (Brown) – Field Star
Gift from the Collection of Joel Deal and Betsy Ruppa
© Thomas Barrow. Museum of Art Rhode Island School of Design, Providence



Barrow scratched through his landscape negatives, calling attention to the materiality of the medium itself and the fact that regardless of how much information is given, reality remains an accumulation of belief, knowledge, and one’s own experience.


Les Krims. 'The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons' 1968


Les Krims (American, b. 1942)
The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons
Kodalith Print



“Kodak Kodalith paper was a thin, matt, orthochromatic graphic arts paper that was not intended for pictorial purposes. However, when it was used for pictorial expression its responsiveness to time and temperature controls during development enabled one to produce a wide range of grainy, high-contrast, and sepia tonal effects. Its unusual handling characteristics also meant that photographers had to pull the print at precisely the “right” moment from the developer and quickly get it into the stop bath, making each print unique.”


Din Q Le. 'Ezekial’s Whisper' 2014


Din Q Le (Vietnamese American, b. 1968)
Ezekial’s Whisper
C-print, linen tape


Ted Orland. 'Meteor!' 1998


Ted Orland (American, b. 1941)
Hand coloured gelatin silver print


Brian Taylor. 'Our Thoughts Wander' 2005


Brian Taylor (American)
Our Thoughts Wander
From the series Open Books
Hand bound book



Open Books

I create photographically illustrated books springing from my fascination with the book format and a love of texture in art. My imagery is inspired by the surreal and poetic moments of living in our fast-paced, modern world. I’m fascinated by how daily life in the 21st Century presents us with incredible experiences in such regularity that we no longer differentiate between what is natural and what is coloured with implausibility, humour, and irony.

These hard cover books are hand bound with marbleised paper and displayed fully opened to a photographically illustrated two-page folio spread. Each book is framed in a wooden shadowbox and presented as a wall piece. I like the idea of making art that contains some imagery which can be sensed but not seen. The underlying pages contain my photographs, snapshots, and work prints that “gave their lives” for the imagery visible in the open spread. These images lie beneath the open pages like history.1


David Lebe. 'Angelo On The Roof' 1979


David Lebe (American, b. 1948)
Angelo On The Roof


Jerry Uelsmann (American, born 1934) 'Small Woods where I met Myself (Final Version)' 1967


Jerry Uelsmann (American, b. 1934)
Small Woods where I met Myself (Final Version)
Gelatin silver print
25.4 x 32.3cm (10 x 12 11/16 in.)
© 1967 Jerry Uelsmann


Robert Heinecken. 'Are You Rea #15' 1968


Robert Heinecken (American, 1931-2006)
Are You Rea #15
Offset lithography


David Levinthal and Garry Trudeau. 'Untitled', from the series 'Hitler Moves East' 1977


David Levinthal (American, b. 1949) and Garry Trudeau (American, b. 1948)
Untitled, from the series Hitler Moves East
8 x 10 inches
Gelatin silver (Kodalith) print
Courtesy Paul Morris Gallery, New York City



My favourite story comes from the early days of Levinthal’s career, when he was a college student working on Hitler Moves East with Garry Trudeau. They worked with childlike enthusiasm, purchasing smoke bombs from a local theatre supply shop and growing grass inside David’s apartment to achieve maximum realism. This culminated in a huge explosion of smoke, and the photograph above. Forever making jokes, Levinthal had this to say about the situation: “I’m not even sure we had 911 those days, so that was probably helpful.” He sometimes describes incidents in which things went wrong, but thankfully this wasn’t one of those situations. Instead he successfully produced this photo and began a transition from the early works, which show toys rearranged on his linoleum floor, to photographs that are sophisticated and deceptively real looking.

Ashleigh Ferran. “From Toys to Art: Learning from David Levinthal,” on the Corcoran website August 7, 2013 [Online] Cited 02/07/2021


Joel-Peter Witkin. 'Poussin in Hell' 1999


Joel-Peter Witkin (American, b. 1939)
Poussin in Hell
Toned gelatin silver print


Douglas Prince. 'Untitled' 1969


Douglas Prince (American, b. 1943)
Film and Plexiglas
5 x 5 x 2.5 inches


Mike and Doug Starn. 'Double Rembrandt with Steps' 1987-88


Mike and Doug Starn (American, b. 1961)
Double Rembrandt with Steps
Toned gelatin silver print, toned ortho film, wood, Plexiglas, and glue.
108 x 108 inches
Collection of the Museum of Modern Art, New York, NY



CEPA Gallery is pleased to announce Transformational Imagemaking: Handmade Photography Since 1960, a companion exhibition to Robert Hirsch’s recently published book of the same title (Focal Press). This extraordinary exhibition features work by some of the most innovative photographers and imagemakers of the mid- 20th century through today; artists who redefined the notion of photography as a medium and left an indelible mark on contemporary photographic practices.

This extensive survey will include more than 140 works by over 40 artists spanning nearly 50 years of artistic practice unified by a curatorial arc rooted in notions that deviate from the purview of traditional photographic practice. Citing Robert Heinecken’s practice as the genesis of conceptual handmade photography, this exhibition charts an intricate universe of artists whose practice dispenses with the self-prescribed limitations of conventional photography in order to mine the boundless potential of the photographic medium as a conceptual conveyance.

Transformational Imagemaking is the culmination of Hirsch’s lifelong exploration into handmade photography and the artists whose practices were formed on the principle of unearthing new possibilities. Hirsch sites the catalyst for the project as an article he published in exposure in 2003 entitled “Flexible Images: Handmade American Photography, 1969-2002”. It has since expanded into a comprehensive publication that includes personal conversations with each artist conducted over a six-month period during 2013. CEPA will now elaborate further by mounting an exhibition that features a selection of each artist’s work.

In addition to Transformational Imagemaking, CEPA will also show the complete folio of Robert Heinecken’s seminal series Are You Rea (1966). Considered to be the grandfather of post-modern photographic practices and a major figure of 20th century art, Heinecken was a key figure in promoting new sentiments about photography as an art form, influencing artists such Richard Prince, Barbara Kruger, Sherrie Levine, and others. Heinecken’s rebellious spirit challenged conventions about the ways photographs represent the tangible world: “We constantly tend to misuse or misunderstand the term reality in relation to photographs. The photograph itself is the only thing that is real.”

Are You Rea (1966), created by contact printing magazine tear-outs onto photographic paper, are ghostly compositions that layer sexually suggestive images of women with fractured text. This provocative body of work, sexually charged and evocatively ambiguous, reflects an awareness of desire as a commercial commodity that begs us to question the very root of our own desires.

Press release from CEPA Gallery


Keith Smith. 'Untitled' 1972


Keith Smith (American, b. 1938)


Binh Danh. 'The Botany of Tuol Sleng Genocide Museum #2' 2008


Binh Danh (American born Vietnam, b. 1977)
The Botany of Tuol Sleng Genocide Museum #2
From the Immortality: The Remnants of the Vietnam and American War series
Chlorophyll print and resin



The chlorophyll process is an organic alternative photography process akin to the anthotype process. However, instead of printing on the crushed extract of fruit or plant matter, the prints are bleached by sunlight directly onto the surface of leaves using a positive. The resulting images are stunningly delicate and beautiful, ranging from haunting silhouettes to crisp definition. Despite the simplicity of the finished product, the process itself can be tedious with plenty of trial and error.

Drawing on the anthotype process, Danh refined a method for securing a positive directly to a live leaf and allowing sunlight to bleach the image onto its surface naturally. He has also addressed a fundamental challenge with natural photography processes; that of fixing the image to prevent further bleaching and deterioration over time. To save his work, Dah casts his finished pieces in a layer of resin allowing them to be enjoyed for years to come.

Tiffany Pereira. “The chlorophyll process,” on the Alternative Photography website [Online] Cited 02/07/2021


Dinh Q. Lê Vietnamese, born 1968 'Untitled' 1998


Dinh Q. Lê (Vietnamese, b. 1968)
Untitled, from the series Cambodia: Splendor and Darkness
C-print and linen tape


Dan Estabrook. 'Fever' 2004


Dan Estabrook (American, b. 1969)
Salt print with ink and watercolor


Robert Fichter. 'Roast Beast 3' 1968


Robert Fichter (American, b. 1939)
Roast Beast 3
Verifax transfer with rundowns, stamping, and crayon


Robert Heineken. 'Are You Rea #1' 1966


Robert Heinecken (American, 1931-2006)
Are You Rea #1
Offset lithography


Chris McCaw. 'Sunburned GSP #676 (San Francisco Bay)' 2013


Chris McCaw (American, b. 1971)
Sunburned GSP #676 (San Francisco Bay)
Gelatin Silver paper negative


Curtis Mann. 'Photographer, Scratch' 2009


Curtis Mann (American, b. 1979)
Photographer, Scratch
Bleached c-print with synthetic polymer varnish


Vik Muniz. 'Atlas (Carlao)' 2008


Vik Muniz (Brazilian, b. 1961)
Atlas (Carlao)
Digital C-print



CEPA Gallery
617 Main Street
Buffalo, NY 14203
Phone: (716) 856-2717

Opening hours:
Wednesday: 12.00pm – 4.00pm
Thursday: 4.00pm -7.00pm
Friday: 12:00pm – 4.00pm
Saturday: 12.00pm – 4.00pm

CEPA Gallery website


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Exhibition: ‘What Is a Photograph?’ at the International Center of Photography, New York

Exhibition dates: 31st January – 4th May 2014

Artist in the exhibition include:

Matthew Brandt b. 1982, Los Angeles; lives and works in Los Angeles. Marco Breuer b. 1966, Landshut, Germany; lives and works in New York State. Liz Deschenes b. 1966, Boston; lives and works in New York City. Adam Fuss b. 1961, London; lives and works in New York City. Owen Kydd b. 1975, Calgary, Canada; lives and works in Los Angeles. Floris Neusüss b. 1937, Lennep, Germany; lives and works in Kassel, Germany. Marlo Pascual b. 1972, Nashville; lives and works in Brooklyn. Sigmar Polke 1941–2010; Germany. Eileen Quinlan b. 1972, Boston; lives and works in New York City. Jon Rafman b. 1981, Montreal; lives and works in Montreal. Gerhard Richter b. 1932, Dresden; lives and works in Cologne. Mariah Robertson b. 1975, Indianapolis, Indiana; lives and works in Brooklyn. Alison Rossiter b. 1953, Jackson, Mississippi; lives and works in the metro New York area. Lucas Samaras b. 1936, Macedonia, Greece; lives and works in New York City. David Benjamin Sherry b. 1981, Woodstock, New York; lives and works in Los Angeles. Travess Smalley b. 1986, Huntington, West Virginia; lives and works in New York City. Kate Steciw b. 1978, Bethlehem, Pennsylvania; lives and works in Brooklyn. Artie Vierkant b. 1986, Breinerd, Minnesota; lives and works in New York City. James Welling b. 1951, Hartford, Connecticut; lives and works in Los Angeles. Christopher Williams b. 1956, Los Angeles; lives and works in Cologne, Düsseldorf, and Amsterdam. Letha Wilson b. 1976, Honolulu; lives and works in Brooklyn.



James Welling. '6236' 2008


James Welling (American, b. 1951)
© James Welling, courtesy David Zwirner, New York/London



A Vocabulary of Photography: representation and the original, the ‘I can’ of sight

What is a photograph? These days, it can be anything your imagination desires, any imag(in)ing that takes your fancy…

The images in this posting are a case in point. In a postmodern, post-photographic world where there is (allegedly) no centre and periphery, these art works are photography playing at the edges of photography. They examine “the range of creative experimentation that has occurred in photography since the 1970s,” reconsidering and reinventing, “the role of light, color, composition, materiality, and the subject in the art of photography.”

In an earlier posting I talked about A Vocabulary of Printing and the Syntax of the Image. Here we could equally posit a Vocabulary of Photography, a compendium of techniques and imaginings, noting that technology and imagination should never delimit the creativity of the photographer/artist. In other words visions, boundaries and technologies are there to be pushed!

All well and good. To solidify meaning in such a nebulous world, there is penchant for (ambiguous) numbers – titles such as 6236; Untitled (C-1189); 154 – or definitive titles that try to fix ambiguity in a specific time, place or typology (a classification according to general type) eg Image Object Friday 7 June 2013 4:33 PM, 2013 or Supplement ’13 (Mixed Typologies) #3.

However, what is produced by this experimentation, this voluminous vocabulary, seldom leads to satisfying results. When you actually look at this type of work, really look at it with a clear and aware mind (as Krishnamurti would say), a large proportion of it is blather, noise for the sake of making noise, tinkering for a terrestrial world saturated in meaningless images. No wonder I get disillusioned with the “contemporary” in photography. The art work seems to mean very little and takes me nowhere I particularly want to go.

While photographs are no longer necessarily “points of view” analogous to Littré’s rigorous definition: ‘The point of view is a collection of objects to which the eye is directed and on which it rests within a certain distance’,1 and “the image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day”2 – meaning that there is no single truth, there are only competing narratives and interpretations of a world that cannot be wholly, accurately described3 – for me there still needs to be a re(as)semblance towards some form of inherent truth in the image, ideally some form of human happiness.

The ‘I can’ of site (representation) / sight (vision) …

Dr Marcus Bunyan


  1. Virilio, Paul. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 19
  2. Blanchot, Maurice. The Gaze of Orpheus. New York: Barrytown, 1981, p. 85
  3. Townsend, Chris. Vile Bodies: Photography and the Crisis of Looking. Munich: Prestel, 1998, p. 10

Many thankx to the International Center of Photography for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.



“Vision is ordered according to a mode that may be generally called the function of images. This function is defined by a point-by-point correspondence of two unities in space. Whatever optical intermediaries may be used to establish their relation, whether their image is virtual, or real, the point-by-point correspondence is essential. That which is the mode of the image is therefore reducible to the simple schema that enables us to establish anamorphosis, that is to say, to the relation of an image, in so far as it linked to a surface, with a certain point that we shall call the ‘geometrical’ point. Anything that is determined by this method, in which the straight line plays its role of being the path of light, can be called an image.”
Lacan, Jacques. The Four Fundamental Concepts of Psycho-Analysis (trans. Alan Sheridan). London: The Hogarth Press, 1977, p. 86


“With the industrial proliferation of visual and audiovisual protheses and unrestrained use of instantaneous-transmission equipment from earliest childhood onwards, we now routinely see the encoding of increasingly elaborate mental images together with a steady decline in retention rates and recall. In other words we are looking at the rapid collapse of mnemonic [aiding memory] consolidation.

This collapse seems only natural, if one remembers a contrario that seeing, and its spatio-temporal organisation, precede gesture and speech and their co-ordination in knowing, recognising, making known (as images of our thoughts), our thoughts themselves and cognitive functions, which are never passive… (Romains, Jules. La Vision extra-rétinienne et le sens paroptique. Paris: Gallimard, 1964).

Everything I see is in principle within my reach, at least within reach of my sight, marked on the map of the ‘I can’. In this important formulation, Merleau-Ponty pinpoints precisely what will eventually find itself ruined by the banalisation of a certain teletopology. The bulk of what I see is, in fact and in principle, no longer with in my reach. And even if it lies within reach of my sight, it is no longer necessarily inscribed on the map of the ‘I can’. The logistics of perception in fact destroy what earlier modes of representation preserved of the original, ideally human happiness, the ‘I can’ of sight… ”

Virilio, Paul. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 7 (my bold)



Matthew Brandt. 'Grays Lake, ID 7' 2013


Matthew Brandt (American, b. 1982)
Grays Lake, ID 7
© Matthew Brandt, courtesy Yossi Milo Gallery, New York


Alison Rossiter. 'Kilborn Acme Kruxo, exact expiration date unknown, ca. 1940s, processed in 2013 (#1)' 2013


Alison Rossiter (American, b. 1953)
Kilborn Acme Kruxo, exact expiration date unknown, ca. 1940s, processed in 2013 (#1)
© Alison Rossiter, courtesy Yossi Milo Gallery, New York


Eileen Quinlan. 'The Drink' 2011


Eileen Quinlan (American, b. 1972)
The Drink
© Eileen Quinlan, courtesy Miguel Abreu Gallery, New York


Gerhard Richter. '18.2.08' 2008


Gerhard Richter (German, b. 1932)
© Gerhard Richter, courtesy Marian Goodman Gallery, New York


Kate Steciw. 'Armchair, Background, Basic, Beauty, Bed, Bedside, Bread, Breakfast, Bright, Cereal, Closeup, Cloth, Color, Contemporary, Couch, Crust, Day, Decor, Fox, Frame, Grain, Ingredient, Interior, Invitation, Irregular, Juice, Life, Living, Loaf, Luxury, Macro, Sofa, Speed, Style, Sweet, Texture' 2013


Kate Steciw (American, b. 1978)
Armchair, Background, Basic, Beauty, Bed, Bedside, Bread, Breakfast, Bright, Cereal, Closeup, Cloth, Color, Contemporary, Couch, Crust, Day, Decor, Fox, Frame, Grain, Ingredient, Interior, Invitation, Irregular, Juice, Life, Living, Loaf, Luxury, Macro, Sofa, Speed, Style, Sweet, Texture
1 and 2 of infinite
© Kate Steciw



On view at the International Center of Photography from January 31 through May 4, 2014, What Is a Photograph? explores the range of creative experimentation that has occurred in photography since the 1970s.

This major exhibition brings together 21 emerging and established artists who have reconsidered and reinvented the role of light, color, composition, materiality, and the subject in the art of photography. In the process, they have also confronted an unexpected revolution in the medium with the rise of digital technology, which has resulted in imaginative reexaminations of the art of analog photography, the new world of digital images, and the hybrid creations of both systems as they come together.

“Artists around the globe have been experimenting with and redrawing the boundaries of traditional photography for decades,” said ICP Curator Carol Squiers, who organised the exhibit. “Although digital photography seems to have made analog obsolete, artists continue to make works that are photographic objects, using both old technologies and new, crisscrossing boundaries and blending techniques.”

Among those included in the exhibition is Lucas Samaras, who adopted the newly developed Polaroid camera in the late 1960s and early 1970s and immediately began altering its instant prints, creating fantastical nude self-portraits. Another artist who turned to photography in the 1970s was Sigmar Polke. Although better known as a painter, Polke explored nontraditional ways of photographing and printing, manipulating both his film and prints in the darkroom and often drawing and painting on his images.

More recently, Liz Deschenes has used camera-less photography in a subtle investigation of nonrepresentational forms of expression and the outmoded technologies of photography. And, James Welling has created a heterogeneous body of work that explores optics, human perception, and a range of photographic genres both abstract and representational.

Press release from the International Center of Photography website


Letha Wilson. 'Colorado Purple' 2012


Letha Wilson (American, b. 1976)
Colorado Purple
Concrete, chromogenic print transfer, and wood frame
Courtesy the artist and Higher Pictures, New York
© Letha Wilson, courtesy Higher Pictures, New York


Adam Fuss. 'Untitled' 1988


Adam Fuss (American, b. 1961)
© Adam Fuss, courtesy Cheim & Read, New York


Marco Breuer. 'Untitled (C-1189)' 2012


Marco Breuer (German, b. 1966)
Untitled (C-1189)
© Marco Breuer, courtesy Yossi Milo Gallery, New York


David Benjamin Sherry. 'Lower Yosemite Falls, Yosemite, California' 2013


David Benjamin Sherry (American, b. 1981)
Lower Yosemite Falls, Yosemite, California
© David Benjamin Sherry, courtesy the artist and Salon 94, New York


Mariah Robertson. '154' [detail] 2010


Mariah Robertson (American, b. 1975)
154 [detail]
© Mariah Robertson, courtesy American Contemporary, New York


Artie Vierkant. 'Image Object Friday 7 June 2013 4:33 PM, 2013' 2013


Artie Vierkant (American, b. 1986)
Image Object Friday 7 June 2013 4:33 PM, 2013
© Artie Vierkant, courtesy Higher Pictures, New York


Christopher Williams. 'Supplement '13 (Mixed Typologies) #3' [detail] 2013


Christopher Williams (American, b. 1956)
Supplement ’13 (Mixed Typologies) #3 [detail]
© Christopher Williams, courtesy David Zwirner, New York/London and Galerie Gisela Capitain, Cologne


Jon Rafman. 'New Age Demanded (The heart was a place made fast)' 2013


Jon Rafman (American, b. 1981)
New Age Demanded (The heart was a place made fast)
© Jon Rafman, courtesy the artist and Zach Feuer Galery, New York


Floris Neusüss. 'Tango' 1983


Floris Neusüss (German, 1937-2020)
© Floris Neusüss, courtesy the artist and Von Lintel Gallery, New York


Marlo Pascual. 'Untitled' 2010


Marlo Pascual (American, 1972-2020)
© Marlo Pascual, courtesy the artist and Casey Kaplan, New York
Photo: Jean Vong


Owen Kydd. 'Pico Boulevard (Nocturne)' 2012


Owen Kydd
Pico Boulevard (Nocturne)
Courtesy the artist and Nicelle Beauchene Gallery
© Owen Kydd



International Center of Photography
79 Essex Street New York, NY 10002
Phone: 212 857 0000

Opening hours:
Thursday – Sunday: 11am – 7pm
Closed: Mondays – Wednesdays

International Center of Photography website


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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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