Category: overnight notes

Sun Dye Service

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From my prior post: “CVI, Color Vision Imaging laboratory, Manhattan, 1981. Guy Stricherz (b. 1948) graduated from western Washington University in 1974. He went to New York city in 1977 to work for Frank Tartaro who was one of a dozen masterful printers. Even at that time the process was falling out of use. It had peaked by 1980. Irene Malli (b. 1964) graduated from Cooper Union; after graduation she worked as a printer before answering an ad for CVI in 1989. CVI was moved to Vashon Island from NYC in 2004. Some of their recent clients: Larry Burrows, Bruce Davidson, Thomas Demand, William Eggleston, Mitch Epstein, Ernst Haas, Hiro, Evelyn Hofer, Graziela Iturbide, Zoe Leonard, Arnold Newman, Irving Penn, Christopher Williams. Irene Malli born 1964, and Guy Stricherz (b. 1948 – d. March 29, 2025 ) . They used Kodak materials, their last for a final portfolio of William Eggleston. Much was made of this, including a widely distributed video. That video was, in a way, an introduction of the Irene to the world. Guy’s way of revealing the person in the shadows of CVI.

Knowing just those items would have paid credit to the grand pitch of Dye as Value. But TOP missed the century. kuhChing and kuhTOP are selling archaeology. crumbled bits, the remains of his past travel shots.

If you are going to pitch the past as value, get some of it correct, please.

saying it’s valuable because it’s a dye transfer diminishes its meaning .. as it means those folks who made dye transfers.

that you don’t know the history even though you’re selling some thing because it is historic that you don’t know the currency means not just that you’re a bad salesman, but that you’re a salesman that doesn’t even care 

is it valuable because of something in the bones, something intrinsic, or something in the brochure .

if it’s valuable because it’s a dye transfer, that’s a little bit like bragging about the framing, the matting; while charging for shipping and handling says discounts galore. A by the bucket sale.

S&H is the poor man’s coupon . like S&M… A diversion perversion

What is it worth? What will you get upon resale?

Factoid from the past: Eliot Porter portfolios sold for $900 with 10 prints. They even had a box, just no shipping and handling. When EPs were sold by Berkey Gallery, Porter got $300 for each print sold.

We have been here before. Going out of business that never ends.

Monthday

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As the month rolls over, I charge the ‘tronics carried on my walks. These guys are a decade old, which seems forever. The covers are wearing. Adhesives failing, but only to a point, a physical pressure point — where my hand has made a mark. The cliche of using objects.

I have multiple batteries which I cycle thru the charge-use cycle. Much of the work from these serve as prompts — training my eye-foot coordination. If my digital comp skills were better, my time in chair more patient, then I would use them in extended form. As soon as I write that, I feel the need to grow. Plant myself into learning, meaning, disciple into effort until a solution happens. Perhaps.

A bit of Burke’s [5/5/1897 – 11/19/1993] grammar: the PENTAD — act, scene, agent, agency, and purpose

  • act: “names what took place, in thought or in deed”
  • scene: “the background of the act, the situation in which it occurred”
  • agent: “what person or kind of person performed the act”
  • agency: “what means or instruments he used”
  • purpose: though not formally defined like the others, this is the motive.

Osborn expands this: “… a truly rigorous attempt to account for a single work on the grounds of poetics alone should force recognition that it is necessary to go beyond poetics-in-particular to language-in-general…”

Back to Burke: ““any nomenclature necessarily directs the attention into some channels rather than others. This can be obvious, such as how different academic subjects direct the attention, or more subtle. Burke illustrates the latter point with an example of how photos of the same objects using different color filters reflected and deflected his attention in different ways, depending on the filter “ [ concept is: terministic screens]

Ref:

  • Osborn, Neal J. “Toward the Quintessential Burke.” The Hudson Review 21.2 (1968): 320.
  • Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and Method. (Berkeley: University of California Press, 1966) 16.

Theory will not make pictures. The obvious reason I take walks is to enter the think, walk, do momentums.

Your turn.