LA Report: Beyond the Book Fairs (11-14 February)



The weekend of February 11 – 14 turns Los Angeles into a paradise for photobook lovers. Two book fairs descend on the city: Printed Matter’s LA Art Book Fair at the Geffen Contemporary at MOCA in downtown Los Angeles and the 49th California International Antiquarian Book Fair at the Pasadena Convention Center just northeast of downtown. Completely different fairs, each offers the opportunity to browse books from publishers and dealers from around the world. More geared towards the contemporary fine art community, the LA Art Book Fair – the manageable “little sister” of the behemoth NY Art Book Fair – presents photobooks, artists’ books, art catalogs, monographs, periodicals, and zines from over 250 international presses, booksellers, antiquarians, artists, and independent publishers. The California International Antiquarian Fair caters to rare book collectors with offerings from over 300 antiquarian dealers specializing in valuable photobooks, art books, manuscripts, autographs, graphics, and photographs. Both fairs have an array of lectures and special events.

But don’t limit your LA visit to the fairs. If you dare, brave the freeways and visit some of the wonderful photography exhibitions, bookstores and galleries in other areas of Los Angeles. Listed below by neighborhood are a few suggestions to help combat book fair fatigue. Click here for a Google map with all locations.

West LA: Brentwood / Bel-Air

Museum: Ishiuchi Miyako: Postwar Shadows and The Younger Generation: Contemporary Japanese Photography at the Getty Center (1200 Getty Center Drive). These two concurrent exhibitions bring to American audiences some of the most interesting work by contemporary Japanese women photographers. Ishiuchi Miyako: Postwar Shadows is a thoughtfully researched retrospective that presents Hasselblad Award winner Ishiuchi’s distinctive vision of time and surface filtered through memory. The Younger Generation, a smaller companion exhibition that immediately follows the retrospective, brings together five mid-career Japanese women photographers: Kawauchi Rinko, Onodera Yuki, Otsuka Chino, Sawada Tomoko, and Shiga Lieko. Emerging in the late 1990s, the women in this show reaffirm the depth, diversity and performative nature of current photographic practice in Japan.

Food and Notes:
The Getty Center requires that you leave your car in a parking lot ($15) and board a free tram to the museum perched on the hillside above. The views from the Getty campus are spectacular.

Try to arrive early. The museum can get crowded with school groups. If you are heading to the Getty from the south via the 405 Freeway, take a quick detour to gas up at the Chevron station at the corner of N. Sepulveda Blvd. and Moraga Dr. Just behind the station is The Shack in the Back (622 N. Sepulveda Blvd.), a non-descript shed that serves up strong coffee and delicious breakfast burritos. For the true LA experience either sit at one of their two outdoor tables facing the gas station and the freeway or eat in your car!

Santa Monica, Venice and Culver City

Galleries: Located in a cluster of repurposed industrial spaces not far from the Cloverfield Blvd. exit of the 10 Freeway, Bergamot Station (2525 Michigan Avenue, Santa Monica) is a “one stop” gallery complex. Park your car and spend an hour or two wandering among the numerous galleries that surround the parking lot and soon to be operational 26th Street / Bergamot metro station (hello, public transportation!). Among the more than 30 galleries are a number of interesting photography shows on view. Stop in at Rose Gallery to browse their book selection and see their group show Her First Meteorite: Volume 2. Other photography shows of interest are: Ron Jude at Gallery Luisotti; Julian Wasser: Duchamp in Pasadena at Berman Gallery; Jeff Wall at Patrick Painter; and New York at Night at Duncun Miller. While at Bergamot, take a break from the galleries and visit Hiromi Paper for incredible handmade papers and bookmaking supplies.

Food: For a quick bite while at Bergamot Station, check out the complex’s Bergamot Café. Refuel with a salad or sandwich under an umbrella on their spacious patio. If you have more time and want a treat, head further south for a spectacular farm to table meal at The Rose Cafe (220 Rose Avenue, Venice). Their black and white pizza is memorable. Also try their umami flavored wakame spaghettini.

Bookstore: Looking to check out more books, head to Arcana (8675 Washington Blvd, Culver City), where a strong photography selection can be found at this art, design and cinema bookshop.

Mid-Wilshire / La Brea

Museum: Don’t miss west coast photographer Catherine Opie’s O Portfolio on view in its entirety at the Los Angeles County Museum of Art / LACMA (5905 Wilshire Blvd, LA). A feminine response to Robert Mapplethorpe’s provocative X Portfolio of male sadomasochistic practices, Opie’s work trades more on intimacy than on explicit sexuality. (Two other Catherine Opie exhibitions are on view in LA: Portraits at UCLA’s Hammer Museum and 700 Nimes Road at MOCA Pacific Design Center.)

Bookstores: While at the museum, also visit The LACMA Store for a decent selection of contemporary photobooks. Spotted in their inventory were books by west coast favorites John Divola and Shannon Ebner. Also located within the LACMA campus is Art Catalogues at LACMA, an LA institution since 1977 that specializes in contemporary and out-of-print art and photography books. Many signed and limited editions can be found here.

Gallery: In need of a 1960s –‘70s Japanese conceptual art and photography fix? Stop by Kayne Griffin Corcoran Gallery (1201 S. La Brea Avenue, LA) to see Jiro Takamatsu’s exhibition of sculptures, paintings, drawings and photographs.

Food: A La Brea area favorite for breakfast, lunch or a snack is The Sycamore Kitchen Bakery and Café (143 S. La Brea Avenue, LA). It is hard to resist their amazingly fresh food and baked goods.

Downtown LA (DTLA)

Gallery: Located just over the Los Angeles River from DTLA, heading towards Boyle Heights, is the new home of Little Big Man Gallery and Books (1427 E 4th Street, Unit 4, LA). On Saturday, February 13th, sneak out of the art book fair at the Geffen Contemporary a bit early to attend the opening reception for photographer Scot Sothern’s Streetwalkers exhibition of Skid Row prostitutes shot since the 1970s. While you’re there, pick up a copy of his new book of the same title, which juxtaposes many of the show’s photographs of streetwalkers in cheap motels and on burnt-out street corners with Sothern’s stories.

Food: Not far from the Geffen Contemporary in the DTLA Arts District is Blacktop Coffee (826 E. 3rd Street, LA). Pick up an awesome cup of coffee with an order of avocado toast and head outside to the patio to soak up some of the local Arts District flavor. Want more options? Head to Grand Central Market (317 S. Broadway, LA), where you can grab some of the best local LA food offerings. (My LA food source* advises skipping the line at the Eggslut and heading straight for Bruce Kalman’s Knead & Co. Pasta Bar and Market.)

Glendale (Atwater Village)

Books: A bit out of the way, but worth the detour, Alias Books East (3163 Glendale Blvd, Glendale) is a local used bookstore with an excellent selection of art and photography titles. Spotted on their shelves were copies of Steidl / Edition 7L’s The Japanese Box and Thomas Mailender’s Illustrated People (2015 ParisPhoto-Aperture Best Photobook of the Year winner). If I remember correctly, it may have even been signed!

Food: There are no shortage of food and coffee options on Glendale Blvd. For a quick and tasty taco or breakfast burrito, try Tacos Villa Corona (3185 Glendale Blvd), a hole-in-the-wall counter with a line out front. For a sit down meal, walk a few doors down to Bon Vivant Market & Cafe (3155 Glendale Blvd).

*Several of the food recommendations in this post are courtesy of LA foodie Juli Frankel.
Posted in Book events, Exhibitions, International, publishing, Seen and heard, Visual Research | Tagged , , , , | 1 Comment

The good singing hurts, but with the lights on it’s less dangerous

grunge and classical | flamenco and ballet | Photography & Music |

Dukes are dead, long live the Dukes                                                                                                     It was just his birthday few days before, on January 8, the same of Elvis Presley in 1935. But unfortunately also his last one. “Planet Earth is a lot bluer today without David Bowie, the greatest rock-star who ever fell to this or any other world […] He was the most human and most alien of rock artist..” writes Rob Sheffield on Rolling Stones. Even if, as me, you are not a devoute fan of Bowie, it is hard did not having encountered him in time. Not only by his musical hits and collaborations, or productions (famous the one with Iggy Pop back in 70ies, in Berlin), but also in cinema, television, or by his masks, the Starman, Ziggy Stardust, Halloween Jack, the Thin White Duke.. Continue reading

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Response to Girl Culture by Lauren Greenfield

by Akari Stimler and Zoë Gleitsman

As teenage girls, this book immediately caught our attention. Even though the photographs were taken when we weren’t born yet, the subject matter and many of the topics discussed are very identifiable and relatable. Greenfield’s photographs are very candid and raw, and they show sides of girls’ lives that aren’t typically photographed or shown to the public. Of course Greenfield was not the only female photographer to do so, but she was someone who created work that spoke to young adult women. Girl Culture not only contains photographs, but also interviews from certain subjects, thus providing a more three dimensional perspective for each image. Another aspect of the work in this book that is amazing is that the subjects Greenfield chose were extremely diverse, showing what growing up as a girl is like with many different backgrounds.

Social media has become a tool for many young photographers to show their work. As teenagers, we are constantly surrounded by social media. Artists like Petra Collins and Olivia Bee are attempting to explore the same subjects that Greenfield explored. Petra Collins is a young, female photographer that explores issues concerning girls and often promotes feminism in her photography. As we were paging through Girl Culture, we started to compare the work of Petra Collins to the photographs shown in the book. Both photographers seem to express their frustrations with societal standards for women through their subjects. Greenfield has a wider range of subjects than Collins, and she has more access to different locations and events. Both photographers chose to approach the subject of young girls in the U.S., but they did so in very different ways. The photographs in Girl Culture are obviously candid; the focus of the subjects were on other tasks while they were being photographed. The work of Petra Collins is very styled and precise; she takes the time to make sure her photographs look exactly how she wants them to. Both artists have succeeded in bringing to light issues concerning young girls, but have done so in very different ways. We hope to be a part of a generation of photographers that will continue to shed light on girls and we also hope that this subject matter will expand to girls across the world.

Images from Girl Culture by Lauren Greenfield

13 In Edina, Girl Culture

(l-r) Annie, Hannah and Allie, all 13, get ready for the first big party of the seventh grade in Edina, an affluent suburb of Minneapolis, Minnesota. The most popular girls at school, these friends spent three hours helping each other get ready for the party. Only a few miles away from the biggest mall in America, 7th graders here are not worried about gangs or school violence but with being popular and fitting in.

THIN, Girl Culture

Erin, 24, from Lincoln, California, is “blind-weighed” at daily weights at an eating disorder clinic. She mounts the scale backward so as not to see her weight gain from treatment. (From Girl Culture)



Photographs from Petra Collins:


Akari Stimler and Zoë Gleitsman are Spring 2016 interns at the ICP Library.

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Teen Academy Photo II in Black-and-White: The Self-Published Artist in the Library’s Window


The invention of the printing press forever changed how information is spread, enabling artists to find new audiences beyond their immediate spheres of influence. Even in today’s screen-based society, photographers use homemade books and zines to extend the reach of their work to bookstores, collections, art fairs, and library shelves across the globe. In Lesly Deschler Canossi’s Teen Academy class, Photo II in Black-and-White: The Self-Published Artist, seventeen students produced silver gelatin prints, using them as source material for self-publishing. Through alternative methods such as photo collage, sandwiched and scratched negatives, zine and poster production, students expanded their understanding of the possibilities of image-making, learning how to use independent channels of distribution as a way to reach larger and more diverse audiences. By the end of the course, students developed a portfolio of prints, an artist’s statement, and a handmade book or zine.

Please join us to celebrate the achievements of our teen photographers. The ICP Library and Teen Academy program are proud to present a selection of self-published books authored by students who participated in the fall class, Photo II in Black-and-White: The Self-Published Artist on JANUARY 29, 6-8 PM International Center of Photography Library 1114 Avenue of the Americas at 43rd Street New York, NY



Participating Artists:

Dara Doft:KK1A1236.jpg

Ian Gordon:KK1A1415.jpg

Eve Bishop:_MG_9408.jpg

Clara Choate:_MG_9438.jpg

Izzi Held:KK1A1465.jpg

Karmeen Ho:KK1A1394.jpg

Matias Mollin:KK1A1445.jpg

Olivia Oldham:KK1A1247.jpg

Livvy Ferrari:KK1A1383.jpg

Harmony Morgan:KK1A1491.jpg

Akari Stimler:KK1A1204.jpg

Nell Pittman:KK1A1349.jpg

Zoe Gleitsman:KK1A1258.jpg

Nisida Spera:KK1A1284.jpg

Tiffany Duran:_MG_9422.jpg

Vivian Jackson:KK1A1436.jpg

Liana Porto:KK1A1321.jpg


ICP’s Teen Academy program serves more than 600 high school students a year—50 percent of whom receive scholarships—with the goal of fostering skills in self-expression and community development amongst a diverse group of teens. Teen Academy offers a range of opportunities for students to develop their knowledge of photography, critical thinking, writing, and public speaking. Courses include seasonal 10-week classes in black-and-white and color darkroom instruction, digital intensives, and Imagemakers, a yearlong advanced program. All curricula include: photographic and writing assignments, visual presentations, discussions, critiques, field trips, guest artist visits, and culminating presentations for family and friends, celebrating the students’ achievements.

Teen Academy is made possible with generous support from the Altman Foundation, William Randolph Hearst Foundation, Ravenel And Elizabeth Curry Foundation, The Norman and Heewon Cerk Gift Fund, The Chervenak-Nunnalle Foundation, The Houston Family Foundation, Susan and Thomas Dunn, Keith Haring Foundation, The Max and Victoria Dreyfus Foundation, Stuart Z. Katz and Jane Martin, Joseph Alexander Foundation, Select Equity Group, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Posted in artists' books, Events, Exhibitions, Window Exhibit | 1 Comment

Interview: Anouk Kruithof


Book Dummy for forthcoming Automagic (Editorial RM &, 2016)

While hanging out with artist Anouk Kruithof (2012 recipient of the International Center of Photography Infinity Award for “Young Photographer”) at the 2015 Printed Matter Art Book Fair in Los Angeles, I was taken by her very elaborate cupcake-like nail polish. As a big fan of her photo-based projects* and photobooks, I suggested we talk about her work back in New York City while getting “mani-pedis” at a nail salon near her studio on the Lower East Side.

Russet Lederman: When I saw you a few months ago, you had sparkling nails that looked like cupcakes. Do you get your nails done often?

Anouk Kruithof: Yes, I like it. I think it is very relaxing. In Europe, we don’t really have a nail salon culture. Going to a nail salon is a typical New York activity.

RL: I hope you don’t mind if I ask you some questions about your art projects while we have our nails done. For me, a nail salon is a fairly social space, a bit of a community hub where conversations can flow easily. Similarly, many or your creative projects include a social component. As an artist, you actively seek out collaborations and social interventions to engage and support communities. Why?

AK: At this moment in human communication, where many of us have both online and offline personas, I think collaboration and human connections are super-important. I try to employ various strategies to involve others: I can ask someone to do something, or invite them to participate, or interview them, or to simply be a spectator. Through their participation, whatever form it takes, my projects assume a more layered social dimension. I find it interesting to educate people and talk with those who have a connection to the subject that I am researching. I’m not trying to radically change things; rather I think collaborating is an important way to connect with people on a topic of common interest. It adds another layer beyond just doing research online or at the library.

Manicurist: Do you want the toenails cut?

AK: Yes, please. You can cut them.


Lang Zal Ze Leven / Happy Birthday to You (2011)

RL: I first became aware of your work through your Lang Zal Ze Leven (Happy Birthday to You) project and its associated photo-zine. It was a social project that involved the resident patients at the Altrecht Psychiatric Institution in The Netherlands. Can you tell me how this project evolved?

AK: I was invited to do an artist-in-residency on the premises of the Altrecht Psychiatric institution in 2011, where I worked with 10 mental patients from across a range of departments. They were all ages, with the exception of teenagers and 20-year olds. This project came from a very personal place. As a child, I regularly visited my own grandmother, who was a manic-depressive living in a mental institution for many years. During those visits, it became obvious to me that many of the patients didn’t have visitors on their birthdays.

When I began the residency, I wanted to do something about the patients’ birthdays as a way to engage them. I wasn’t sure how and if I would integrate these birthday celebrations into a formal project. I was confident that the process would reveal what should happen next. I also knew that whatever evolved needed to function beyond simple documentation. Photography has this huge distance with the photographer holding a lens between herself and her subjects. With this project I wanted to avoid that distance and had an intern take photographs as I was directly involved in celebrating with the patients. To prepare for the celebrations, I interviewed and asked the birthday wishes of all the patients who had birthdays during my 3-month residency at the institution. I then tried to execute their birthday wishes as best as I could within my allotted budget. It was amazing because I thought their requests would be way more provocative, but actually they were all very sweet and reflected conditioned behavior. For most of the patients, birthdays were about cake and coffee. Although one woman who was having her 86th or 87th birthday asked for a big party that featured a performance by a famous singer. Unfortunately the cost for the famous singer was 300,000 Euros, so I told her we couldn’t do that and organized another singer of a similar age. She also asked that we invite all the elderly patients; about half of them attended.

Overall, the birthday wishes provided insight into the patients’ individual stories and lives, which I found very fascinating. Throughout the project, I was keenly aware that photographing and recording patients in a mental institution needed to be handled respectfully. I did not take photos of anyone who did not wish to be photographed.

Manicurist: Do you want a foot massage?

AK: No thank you, just a regular manicure-pedicure.

RL: Another social intervention, Pixel Stress involved the Wall Street community. For that project, you created 14 framed works that were blown-up images of photos found through a Google search using the word “stress”. You then displayed the framed prints on the sidewalk and tried to sell them by engaging Wall Street pedestrians in conversations about the images. You seem to be interested in so many different populations and communities. Why?

AK: I’m generally interested in people. In particular, I’m most interested in those who are my opposites. For example, Wall Street brokers think in a very abstract way that I don’t understand very well. Similarly, I find people with mental disabilities super–interesting. They have surprising information that I can only discover by conducting research. In my art projects, I look for the extremes that allow me to enter worlds that I would normally not have access to otherwise.

RL: You’ve been described as a “frenetic artist-bookmaker”. Over the past 10 years, you’ve published 9 interdisciplinary art books, and have recently crowd-source-funded your 10th book. Why a book as the documentation of these social interventions and dialogues? They are expensive, hard to produce and rarely profitable. Why not just put a bunch of prints on the wall?

AK: I think a book naturally works very well with photography and text – more so than than trying to create a narrative through prints on the wall. My projects are quite layered – there are source materials, texts, photos, photomontages, and re-visited earlier projects – and I need to contain all these elements within a narrative. In my case, a book works because the different paper types and sizes help to define discreet conceptual areas of image and text as layers within a larger idea and project. Also a book is a visually beautiful object and an endpoint to a project. It can also be seen as a beginning because it allows for a democratic distribution to an expanded audience. A book starts to have its own life beyond my presence. I’m not against selling prints. I just don’t think the complexity of my projects comes across in a single image or series of photographs on a wall.

Manicurist: This color?

AK: Yes, please.

RL: You are currently working on Automagic, a book that you are funding through Kickstarter. It will be your most elaborate book to date, composed of 10 chapters and featuring a wide range of images from an image archive you began making with an early pre-iPhone digital camera in 2003. It will present close to 800 collected pages of remixed, redefined, and re-conceptualized images and text. You’ve promise to “kiss” copies rather than sign them. What’s that about?

AK: I’ve had the idea to kiss rather than sign for a long time. It is in response to this collecting obsession with “signed copies”. I find it funny that sometimes collectors are more interested in getting the photographer’s signatures than exploring a book’s content. Often books completely bypass the artist’s touch by coming shrink-wrapped directly from the printer. By kissing the books, I am communicating the artist’s touch – a more loving gesture. I’m curious if people will still ask me to also sign the kissed books? I won’t!

RL: In addition to your personal projects, you are committed to helping other talented artists who aren’t able to get their work seen through traditional channels. For example, you co-founded the Anamorphosis Prize, an award that gives $10,000 to an author of a recently self-published photobook or photo-based artist book. Why do you feel so strongly about helping and supporting your peers?

AK: Why not? I think it is a wonderful thing to organize events and programs that encourage artists to share, collaborate and support one another. We are all swimming around in the same pool with lots of overlapping interests. It seems odd not to do this.

Manicurist: Do you want to cut your fingernails?

AK: No cutting, just file them in a round shape, please.

RL: Did you always want to be an artist?

AK: No, for most of my childhood I wanted to be a doctor who worked for Doctors Without Borders. I grew up in Dordrecht, close to Rotterdam and when I was 17 years old, my mom took me to an open house held by our local art academy. Wow, I was really wild for everything I saw there. My father was super-angry because he didn’t want me to pursue art instead of medicine. My mother had to convince him that art school was the right route for me. I applied to a few schools and received 3 letters of acceptance. I ended up attending the Academy of Art and Design St. Joost in the Dutch city of Breda, where I initially studied both sculpture and photography. Ultimately, I dropped sculpture and graduated in 2003 with a photography degree. My student work involved interviews with people who had skin diseases and distorted appearances. I asked them about the way they wanted to be seen and how they supposed others saw them. It was very social work. I shot portraits of how they wanted to see themselves and put the interviews in a book. The portraits reveal that I’m actually quite a good photographer. Recently, I began working again with a Hasselblad film camera. I’m using it to create analog photomontages for an upcoming project called #Evidence.

RL: Can you tell me more about #Evidence?

AK: #Evidence is inspired by Larry Sultan and Mike Mandel’s important conceptual book Evidence (1977), which isolated and recontextualized archival corporate and institutional images that were originally intended as objective evidence. My project follows a similar practice, but instead of archives, I am using the Instagram accounts of corporations, institutions and governmental organizations related to America’s ambiguous technological future. I find it fascinating how these organizations now use social media as a means of propaganda and self-promotion. When Sultan and Mandel did their book, they actually went to the corporations to look at the physical photos in the corporate archives. I feel that by using screenshots of these corporations’ Instagram feeds, I am reflecting contemporary views of photography and our lack of trust in the image. A photo is no longer used as evidence – especially photos posted on social media platforms, which function within carefully curated, strategized and marketed environments. I want to think about evidence in a more philosophical way. When Sultan and Mandel worked on Evidence, they were addressing issues of appropriation, but I no longer see the need to do that. Rather, I seek to push it further and look at the inherent contradiction in our current usage of photography, especially within social media. I’m fascinated by how we distrust the photographic image, while simultaneously embracing it as a means of self-promotion that validates our existence.

RL: Oh, your nails look wonderful. I like the blue color very much!

AK: Yes, I like it too.


* Anouk Kruithof’s work is currently on view through March 20, 2016 in Ocean of Images: New Photography 2015 at the Museum of Modern Art in NYC.

Books by Anouk Kruithof in the ICP Library Collection

The Black Hole (2006)
TR179.5.K781 .H48 2006

Anouk Kruithof: Becoming Blue (2009)
TR647 .K781 2009

Playing Borders / This Contemporary State of Mind (2009)
TR179.5.K781 .P53 2009

The Daily Exhaustion (2010)
TR179.5.K781 .D35 2010

A Head with Wings (2011)
TR179.5.K781 .H43 2011

Het Vijfde Seizoen: Kunstenaarsverblijf in de Psychiatrische Instelling Willem Arntsz Hoeve/Altrecht, Den Dolder  (2011)
TR681.P76 .H48 2011

Lang Zal Ze Leven / Happy Birthday to You (2011)
TR179.5.K781 .L36 2011

Pixel Stress (2013)
TR179.5.K781 .P59 2013

SPBH Pamphlet: Case Report 468 (2014)
TR179.5.S45 .S73 2013

Untitled (I’ve Taken Too Many Photos / I’ve Never Taken a Photo) (2014)
TR179.5.K781 .I84 2014

The Bungalow (2014)
TR179.5.K781 .B85 2014



Posted in ICP alumni, Interviews, Seen and heard, self-publishing, Unpacking the collection | Tagged , , , , , , , | Leave a comment

Happy Martin Luther King, Jr. Day


The third Monday in January is Martin Luther King, Jr. Day and this has been the case since 1986. Initially, some states resisted observing the holiday, giving it alternative names or combining it with other holidays. It was only in 2000 that this holiday was officially observed in all 50 states for the first time. Only two other people have national holidays in the U.S.A a man by the name of George Washington and an explorer called Christopher Columbus.

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The ultimate weakness of violence
is that it is a descending spiral,
begetting the very thing it seeks to destroy.
Instead of diminishing evil, it multiplies it.
Through violence you may murder the liar,
but you cannot murder the lie, nor establish the truth.
Through violence you murder the hater,
but you do not murder hate.
In fact, violence merely increases hate….
Returning violence for violence multiples violence,
adding deeper darkness to a night already devoid of stars.
Darkness cannot drive out darkness; only light can do that.
Hate cannot drive out hate; only love can do that.

Dr. Martin Luther King Jr.

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I Looked & Looked by Magali Duzant

Tonight I attended a launch party at Field Projects for I Looked & Looked an artist book by Magali Duzantpublished by our friends at Conveyor Editions. This one night event was purposefully held on the anniversary of Hurricane Sandy, the night this project began.

Image courtesy of Conveyor Editions

Image courtesy of Conveyor Editions

Image courtesy of Conveyor Arts

Image courtesy of Conveyor Arts

I Looked & Looked draws its title from a line in a love letter Alfred Stieglitz wrote to Georgia O’Keeffe in 1923. In it Stieglitz describes a full moon over Lake George. By chance, O’Keeffe described the same moon in a letter she wrote to Stieglitz from York Beach on the very same night.

Image courtesy of Conveyor Editions

Image courtesy of Conveyor Editions


Image courtesy of Conveyor Arts

In 2012, Duzant discovered this exchange prompting her to ask twenty artists to describe the coming full moon of October 29th. On that night Hurricane Sandy struck, leading to unexpectedly differing accounts of a single sky. I Looked & Looked combines these stories together with Duzant’s own photo-based reflection on our shared moon and it’s potential as a as site for human interconnectedness.

Image courtesy of the artist

Image courtesy of the artist

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