Names Midweek

in contrast / counterpoint to :

Adams, White

Les Krims

Duane Michaels

Arthur Tress

Lucas Samaras

Jerry Uelsman

Legacy of Larry Sultan: 
Dru Donovan, 
Jeff Rosenheim, 
Alec Soth & 
Kelly Sultan in conversation
Kelly Sultan
Kelly Sultan is a residential interior designer. She also assisted Larry in the studio and on various shoots. They collaborated on the project Have You Seen Me, 1994. She and Larry were married in 1987 and have two children. She is now the director of his estate. Kelly lives in Greenbrae, California.

Followed by signings with:
Talia Chetrit
Moyra Davey
Roe Ethridge
Nona Faustine
Rosalind Fox Solomon
Paul Graham
Justine Kurland
D'Angelo Lovell Williams
Ahndraya Parlato
Gail Rebhan
-Stephen Shore
-Alec Soth
dr. Sally Stein The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens.  

Jameson- end of modernism” FREDRIC JAMESON, in his magisterial work, Postmodernism, or, the Cultural Logic of Late Capitalism (1991), has offered us a particularly influential analysis of our current postmodern condition. Like Jean Baudrillard, whose concept of the simulacrum he adopts, Jameson is highly critical of our current historical situation; indeed, he paints a rather dystopic picture of the present, which he associates, in particular, with a loss of our connection to history. What we are left with is a fascination with the present. According to Jameson, postmodernity has transformed the historical past into a series of emptied-out stylizations (what Jameson terms pastiche) that can then be commodified and consumed. “–https://cla.purdue.edu/academic/english/theory/postmodernism/modules/jamesonpostmodernity.html

Professional or Amateur Film

a designation which may seem offensive by those defensive users. Although not an absolute measurement, it was used by the main film makers for most of their film century.

The character of the professional user gave us the term. They used more film; stored it for shorter times; frequently altered the processing parameters. This market of film, frequently, included a tech-sheet with more technical information than the amateur ideograms, assuming that the professional would interpret them correctly for their need. The professional worked with controlled, or at least knowable light systems and situations.

The professional was expected to enlarge their film in different situations and to much greater degree than the amateur. Professional films were expected to be reprinted, or otherwise re-used more often than the amateur.

Amateurs frequently kept film in a camera over many months. At one mass-processor an informal contest ran: the winner would be the roll of film with the greatest number of year-over-year vacation snaps. More Thanksgivings, etc. The ultimate winner was a 12 exposure roll with a wedding, 8 Thanksgivings and a funeral. It was dropped off for processing at a One-Hour finisher. That is the amateur


making photographic emulsions