No. 28Feb — Apr 2000

Photography and the Creative ProcessArticles • Interviews • Portfolios

Q U A R T E R L Y

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© 2000 LensWork PublishingAll rights reserved

ISSN #1075-5624

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FEB - APR 2000LENSWORK QUARTERLY #28LensWork Quarterly (ISSN 1075-5624) is published fourtimes yearly (February, May, August, and November)by LensWork Publishing, PO Box 22007, Portland, OR97269-2007. Subscriptions are available within theUnited States for $29 for 1-year (four issues) or $55 for2-years (eight issues). Canada and Mexico subscrip-tion rates are $39 for 1-year (four issues) or $75 for 2-years (eight issues). Overseas subscription rates are$49 for 1-year (four issues) or $95 for 2-years (eight is-sues). Periodicals Postage Rates paid at Portland, Or-egon. Postmaster: Send address changes to LensWorkPublishing, PO Box 22007, Portland, OR 97269-2007.

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7Editor’s Comments

Celebrity and Obscurity —and Why I Am an

Optimist About PhotographyIn a culture that panders to celebrity

status, LensWork chooses not to neglect theartists working in relative obscurity, since

this is often the path to mastery. Oureditor shares his perspective based on the

work he sees through LensWork submis-sions, and why this leads him to be so

optimistic about the future of photography.

16Portfolio : Ken Royster

Saved, Sanctified andFilled With The Holy Spirit

30Robert Hecht

On Persevering As A PhotographerThe great majority of photographers will

never attain notoriety. So why bother?Hecht offers some amusing (and easily

overlooked) reasons why the journey forhim has become more important

than his original destination.

36Portfolio : Charles A. Hedgcock

The Hidden Empire

46Bill WeinsteinWeinstein Oeuvre PermeatesThe Art WorldThe best humor is grounded in a measureof truth. As we enter the new millennium,we couldn’t resist publishing this piecethat takes a crack at the overstuffed artworld of the late 1900’s.

49Portfolio : Catherine SteinmannNew York City

60Brooks Jensen“Owning” PhotographsImages stay the same; people change.Jensen offers a useful insight and simpleexercise which illustrates why we mustre-experience music, books and photo-graphs many times in our life before weactually begin to “own” them.

66Portfolio :Annu Palakunnathu MatthewMemories of India

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Celebrity and Obscurity — and Why I Am an Optimist About Photography

In the sixth century B.C., the Chinesephilosopher, Lao Tzu wrote a book ofwisdom in which his basic premise wasthat one cannot have black without white,up without down, positive withoutnegative. For every good in other words,there is a downside, no matter howdifficult it may be able to see. In thisEditor’s Comment, I would like to offersome observations on the downside ofcelebrity and why I am optimistic aboutphotography in spite of the currentclimate of the Art World.

If we are honest, we must admit that our’sis a culture that celebrates the celebrity. Infact, the way to successfully manage one’scareer is to become a celebrity, and this istrue no matter what the field of endeavor.I became aware, after the Gulf War, of justhow insidious this was when I saw on thenewsstand an issue of American Photogra-pher with a picture of Madonna andGeneral Norman Schwarzkopf on thecover. The cover proudly announced thatthe feature article in the magazine hadcelebrities pick their favorite photographof themselves. How more circularly inbredcan one become? It was silly enough that a

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photography magazine focused on popculture icons, but to pander to celebrityvanity this way was, for me, over the top.It was actually this experience that startedme thinking about what a photographymagazine could be, a magazine that trulycelebrated photography instead of equip-ment, celebrated images instead of icons,and most importantly championedphotographers instead of photographicpersonas. This was the genesis of LensWorkQuarterly.

The word persona comes from the Greek“per sona,” or “through sound” and refersto the mask that was worn in Greek open-air theater. These masks were simpledevices mounted on sticks that were heldin front of the actor’s face. Each maskincluded a small megaphonic projectionfrom the mouth that would help carry theactor’s voice further into the open-airtheater. Therefore the mask worn by theactor was really the character of play. Wehave at the beginning of every play thedramatis personae — the list of characters tobe played by the actors. In a strange andcurious corruption of language, the wordperson has become to mean the real thing.

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We identify so clearly our persona withwho we think we are that our commonspeech can include such language “thereal person behind the façade.” In otherwords we ask, “what kind of person areyou really?” — hoping that we are aboutto hear the deep, inside scoop about theindividual’s real self. The age-old businessof symbolism over substance!

In photography, as throughout the rest ofculture, this cult of the personality (really,a cult of the megaphonic mask, if I may)has developed to such a degree thatwithout such a personality it’s difficult toget noticed. How does one get a galleryshow, for example? One of the mostcommon ways is to become a person ofinterest. If you can become a character, anoddball, a spectacle, in short, someonetalked about, then it is easier to becomevisible in the world of gallery art. How doyou get a photography book published?The easiest way is to be a famous deadguy! The reason is, I believe, that it’s easierin the marketplace to sell a book or a pieceof art if the photographer is known. If thephotographer is unknown then thechallenge, in order to develop marketabil-ity, is not to make our work better but tobecome more recognizable.

And this brings us directly to the problemof celebrity. Said succinctly, if you want toget your work seen you have to be a

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famous person. But the definition ofbecoming a famous person is to have yourwork seen! It’s a classic catch-22. I mightadd, the same can be said for magazines.If you want to sell a pop culture magazine,put a famous person on the cover. But ifyou put a famous person on the cover,you’re no different than any other maga-zine and therefore you blend in with thecrowd and cease to be unique. Think ofPeople or Cosmopolitan.

Fortunately there’s a simple way out ofthis dilemma. Just ignore all the rules andcelebrate photography rather than thepersona of photographers.

This doesn’t mean that we’ve neverpublished and won’t continue to publishwell-known photographers. We’re de-lighted to have published master work byAndré Kertész, Wynn Bullock, and evenwell-known contemporaries like BruceBarnbaum, Linda Butler and Shelby LeeAdams. But in selecting work for thelimited space in LensWork Quarterly, weare willing to resist the “celebrity” tideand publish wonderful work by peopleyou’ve never heard of. The names AnnuPalakunnathu Matthew, CharlesHedgcock, Ken Royster and CatherineSteinmann are probably not familiar tomost of you. But when we received theirportfolios for review as submissions toLensWork Quarterly we were impressed

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with the quality of their work and thebroad range of their collective photo-graphic vision. Do they have the necessarycult personality to have made a splash inthe pop culture world? I doubt it. But arethey dedicated photographers workingwith zeal at perfecting their craft andexpressing their vision? The answer, ascan be seen clearly in their photographs,is a resounding yes.

Annu Palakunnathu Matthew’s work hasa lyrical, atmospheric quality that vibrateswith life. She sees her world in terms ofmovement and breath — a quality thatcomes through her photographs withrefreshing ease.

Charles “Chip” Hedgcock has takenImogen Cunningham’s advice to “photo-graph in one’s backyard” literally. It hasoften been said that Edward Weston’sgenius was that he saw peppers as photo-graphic subject material. Chip is to bugswhat Weston was to peppers!

Ken Royster shows a rare quality in aphotographer — the ability to bringunveiled emotion into a photograph andstill exhibit the utmost respect for hissubject’s dignity.

Catherine Steinmann’s work is simply fullof light — even in the shadows of deepestdark. The vibrancy, visual chaos and

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ultimate beauty of her work, to use herwords, celebrates New York City. It is sopopular to depict large cities as places ofgrime and crowded oppression. Her workshows us so clearly that what we see isoften what we choose to see. That shechooses to see light and lightness is atribute to her creative spirit.

So much of today’s best photography isalmost invisible because the photogra-phers are not plugged into “the celebritymachine.” These fine photographers,although they’re not famous, are produc-ing work that needs exposure to anaudience who appreciates their efforts,their vision, and there dedication to craft.The same can be said of new images fromthree photographers we’re adding to theLensWork Special Editions Collection —Steve Mulligan, Carl Battreall, andRaphael Shevelev.

There is a popular rumor running aroundin photography circles these days that theglory days of photography are over.Photography is said to have achieved itszenith in the 1970s and 1980s. As theeditor of LensWork Quarterly, I can attestthat nothing could be farther from thetruth. We see an incredible amount of veryfine photography that comes our way assubmissions, web sites, and books.Contrary to this popular myth aboutphotography falling on hard times, I be-

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lieve this is one of the very best times inphotography’s history — and I believe sofrom the sheer volume of high-qualitywork that we see. There are uncountableand innumerable dedicated photogra-phers working in relative obscuritybecause the publishing world and thegallery world has to focus their attentionon those photographers encased in historyor a cult of personality. Believe me,photography is much healthier today thananyone knows; it’s just relatively invisible.LensWork may be one small voice, but it iswith great delight and enthusiasm that wehighlight the work of these talented butless-known artists and give them the sameconsideration as their better-known peers.

I have often talked about the path ofcreative photography. Those of us inphotography who approach the mediumas a means for personal expression andcreative vision know that photography isonly a medium. Film and cameras and evenphotographs themselves are only means toan end. It is the life that photographyilluminates that is the real significance ofthe path. If photography is to be judgedby the fame of a few luminaries, it isdestined to be a small art, indeed. If, onthe other hand, it is a door through whichhumans can explore and share the myster-ies of life — and a life examined closely —then it will remain a gateway to meaningand connection between people. It does

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not require fame to communicate clearly.It does require dedication and persistence,talent and perseverance, time, honesty,discipline, work, insight and the ability tobreak through self-delusion. Notice thatfame and visibility are not listed. Fameand visibility are a result, not a method.They are not even guaranteed. And mostimportantly, they are not at all what reallycounts. That we live in the age of symbol-ism over substance can hardly be denied.That does not mean we should succumbto the platitude of celebrity or be defeatedby the discouragement of obscurity.

I am an optimist. I tend to be naturally of acheery demeanor. Nonetheless, I find itencouraging to remember how manydecades of virtual invisibility are to benoted in the careers of even the mostfamous photographers. In fact, if youreally want to make great photographs,pray you never become known. Once youdo, the world will do its best to force youto keep repeating the same images overand over. In the meantime, while you areinvisible to the art world, keep makingphotographs and pushing yourself towardmore honest and more powerful imagesthat come from within.

Fine Art Photography at Real People Prices™

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LWS 046Lonnie Jones,Cow Boss,Gang Ranch, 1981Signed byJay Dusard7½x9½” imageon 11x14” paper$49Limited to 900

LWS 045Terry Milliken, Douglas Lake

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WYNN BULLOCK

LWS 086Nude on log, 1954Wynn Bullock9½x7½” image on 11x14” paper$99

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LWS 080San Juan River, Utah

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LWS 081Cloud Reflection,Courthouse Wash, UtahSigned bySteve Mulligan11x8¾” imageon 11x14” paper$49, Limited to 750

LWS 082Badlands,Book Cliffs, ColoradoSigned bySteve Mulligan10½x7¾” imageon 11x14” paper$49, Limited to 750

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LWS 078Rocks & pebbles, 1996Signed by Carl Battreall9½x7½” image on 11x14” paper$49, Limited to 900

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and photographer’s signature to be seen; other information is covered by the overmat.Our frames are handsome black, wooden frames, 23¼”x19¼”, that highlight the

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SAVED, SANCTIFIED & FILLED

WITH THE HOLY SPIRIT

by

Ken Royster

19

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31

ON PERSEVERING

AS A PHOTOGRAPHERby

Robert Hecht

Recently I opened a fortune cookie in a Chinese restaurantand received the following profound words of wisdom(italics mine):

Good things cometo one who preservers. (sic)

Well, I’ve been persevering for quite some time now as aphotographer — steadily for over 35 years. I consider it to bethe real work of my life, even though it would never havebeen possible without the economic support provided by my“day job” as a video producer. And while many good thingshave come to me from photography, I find that I mustactively cultivate a positive perspective about my art work— and its relative success in the world —to appreciate thetruly valuable aspects of a life in creative photography. Infact, the ability to find this positive perspective is critical tomy ability to persevere.

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THE HIDDEN EMPIRE

by

Charles A. Hedgcock

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Living Arts Section

WEINSTEIN OEUVRE

PERMEATES THE ART WORLD

An art review *

PLEASE NOTE: Due to technical problemswith the scanner, the first edition of JPEGimages of Asher’s work will not be availablethis week. However, the first reviews of hiswork are in. The following excerpts appearedin The New York Times this morning.

Already a darling of the cognoscenti, theprecocious West Coast artist Asher KyleWeinstein (1999- ) is already being hailedas the first major post-millennial experi-mentalist in color-field painting. A prodi-giously productive young artist — oftenproducing one or two new canvases everyday — Weinstein’s work is being praisedfor its depth of expression within the self-enforced limitations of palette and sub-strate. Working with unstretched PampersPreemie canvas, Weinstein’s paintings arecreated in a simple, neo-primitive tech-

nique, applying his colors directly to thecanvas using his own buttocks.

Much like Picasso, Asher Weinsteindisplayed his talent from the earliest age,as seen in his first suite of color-fieldpaintings, “The Meconium Series.” Here,working in the thickest, most viscouschoice of obsidian blacks, Weinsteinapplies thick, deep, and almost threedimensional strokes, reminiscent of thepost-WPA work of the young JacksonPollack, an early influence. Limitinghimself to the smallest of canvases —scarcely five inches square — Weinsteinachieves a minimalist expression of thestarkest black and white angst, expressingperhaps his Shakespearean view ofhimself as “From his mother’s wombuntimely ripped.” The dense paint, its

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thickness emphasized by ragged volcanictextures against a background of purestwhite, display the rawness and energyof a young artist discovering his craft.

The Meconium Period, as with Picasso’s“Blue Period,” was short lived, soonreplaced by a lyrical, environmentally-conscious romanticism. Working exclu-sively in earth tones — burnt sierra,umber, and the dark tones of petrifiedwood — Weinstein’s work is seen tosoften, spread, play with the margins ofhis canvases. Here his experimentalismexplodes, as he delves into a world ofabstract shapes that seem to turn intoRorschach tests of the artist’s — and theviewer’s — imagination. The experienceis like the childish game of finding objectsin clouds. In an innovative new technique,Weinstein frequently pre-treats his can-vases in a wash of the palest yellow,further softening the lyrical, ecologicalforms of his contrasting strokes.

In a wildly innovative temper, Weinsteinhas added to the visual and tactile impactof his paintings by challenging the viewerwith a third sense — the olfactory. Usinga technique that the artist refuses to di-vulge, Weinstein perfumes his mediumbefore applying it to the canvas. This attar,redolent of the scents of nature in the raw,earthy yet entrancing, perhaps influencedby Weinstein’s interest in the British

“Shock” artist Damien Hirst, who has asimilar interest in fermenting media, is notdesigned to shock. Rather, it enhances theenvironmental impact of the total work,and is a valuable selling point to collec-tors. (See related article in BusinessSection: “Calvin Klein to Market NewStool-Based Perfume,” page C1).

In an interview, Weinstein revealed plansto move beyond color-field painting intothe world of sculptural forms, once he isintroduced to solid foods. If the youngartist can achieve in sculpture what he hasalready amply demonstrated in painting,the art world may be seeing the emer-gence of the first major talent of the 21stCentury.

The first public exhibition of AsherWeinstein’s work is scheduled for early2000 at the Brooklyn Museum of Art,simply and starkly entitled: “Poop.”

* [Editor’s note: We recently received thisemail from our friends Bill and JuliaWeinstein shortly after the birth of theirson, Asher. In the current Art environ-ment, it was too good to not publish.“Congratulations,” and thanks, Bill.]

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NEW YORK CITY

by

Catherine Steinmann

58

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61

“OWNING”PHOTOGRAPHS

by

Brooks Jensen

I remember when my kids were growing up they both were enam-ored with the Star Wars Trilogy. They owned all three episodes onvideo tape and would watch each movie over and over and over.My Dad was always amazed at this because he could never under-stand why anybody would want to watch a movie a second time.“You know how it’s going to end,” he’d say to the kids with frustra-tion. “Why do you want to watch it again?” To a small degreeI sympathized with his position, but I would remind him that heowned a number of LP’s that he listened to frequently because heenjoyed hearing the music again and again, even though it wasrepetitive.

My kids watched those movies over and over again because theywere fun and they were fun every time they watched them. Similarly,my wife explains that she needs to listen to a new CD over and overuntil she “owns” the music — that is, until it is engrained in herconsciousness so well that she knows it intimately. But there is moregoing on here than mere repetitive appreciation or memorization.

Each time my kids watch Star Wars, the movie stays the same.They change. This is the key. A good photograph, like a good movie

67

MEMORIES OF INDIA

by

Annu Palakunnathu Matthew

71

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Each LensWork MultiMedia Library title features aportfolio of photographs, an audio interview with thephotographer and/or a full multi-media presentation. Inaddition, all back issues of LensWork Quarterly areavailable. And we’re adding new titles regularly!

Using the remarkable Adobe Acrobat™ software (all youneed is the free Acrobat Reader™), these presentationsdefine an entirely new way to appreciate photography.

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Currently available in theLensWork MultiMedia Library

Bruce BarnbaumThe 1998 Images

David Grant BestBeing There

William BiderbostPortrait of the Prairie

Phil BorgesEnduring Spirit

Morrie CamhiThe Jews of Greece

Paula ChamleeHigh Plains Farm

J. J. DickerEmpty Rooms

Steve DzerigianHuman : Nature

Oliver GaglianiThe 1958 Color Portfolio

Phil HarrisFigures: An Alphabet Book

Robert HechtWithin These Rooms

Steven KatzmanBoot Camp

Paul KennyLeaving

André KertészLost in America

The Color Portfolio

Alan McGeeSand

Joan MyersSantiago

Howard SchatzPool Light

Robert VizziniFive Hours on the Rock

Larry WieseTransition

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