Finding aid for the Lewis Baltz notebooks and ephemera, 1987-2011
Katherin Schoenegg
Descriptive Summary
Title: Lewis Baltz notebooks and ephemera
Date (inclusive): 1987-2011
Number: 2015.M.27
Creator/Collector:
Baltz, Lewis,
1945-2014
Physical Description:
3.5 Linear Feet
(6 boxes)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: The collection of ephemera and
notebooks from photographer Lewis Baltz gives insight to his public exhibitions and daily
life between 1987-2011. The ephemera documents Baltz's group and solo exhibitions, while
notebooks dating from 1995-2005 present a detailed overview of Baltz's career-related
activities, meetings, projects planned and executed, and expenses. Also present are several
photographs of and by Baltz. Also present are several photographs of and by
Baltz.
Request Materials: Request access to the physical materials
described in this inventory through the
catalog record for
this collection. Click here for the
access policy .
Language: Collection material is in English with some French, German, Dutch; Flemish, and
Japanese.
Biographical/Historical Note
American photographer and author Lewis Baltz first gained recognition as one of the key
figures in the New Topographic Movement of the late 1970s, pioneering an approach to
photography that refused to glorify industrial process, revealing instead landscapes
blighted by rapid development and human detritus. Born in Newport Beach, California in 1945,
Baltz became interested in photography at an early age and began photographing seriously at
age 12. He poured over photography publications (early influences were Ed van der Elsken,
Wright Morris and Edward Weston) and frequented camera shops, especially William R.
Current's store in Laguna Beach, where the owner became his early mentor, employing him in
the store at age 14. Baltz graduated from the San Francisco Art Institute in 1969 and
received his MFA from Claremont Graduate School in 1971.
Growing up in postwar Southern California, Baltz witnessed first-hand the region's rapid
transformation from open, agricultural and desert space into a homogenized urban
environment. By 1967 he had already begun responding to the changes around him, creating
tightly framed black-and-white photographs that recorded the generic, oft-overlooked details
of these man-made environments – the flat, expansive stucco facades punctuated by blank
windows and exterior piping; signage; parking lots; empty closets and set-like motel rooms
of the new tract house developments and anonymous, light industrial and commercial urban
spaces. These early single images, which he first called the
Highway
Series,
were later to be collectively titled
Prototype
Works
.
From single images of generic, urban details Baltz went on to produce images in series such
as
The Tract Houses (1969-1971),
The
New Industrial Parks near Irvine, California
(1974-1975),
Nevada (1977),
Park City (1978-1981) and
San Quentin Point (1981-1983) that charted, with minimalist
precision, both the monotonous urbanization of once-isolated locations and the newly-created
wastelands on their marginalized edges.
Baltz's first solo show,
Tract Houses, was held at the Leo
Castelli Gallery, New York, in 1971 when he was 26. His work gained further recognition with
his participation in the ground-breaking 1975 group exhibition
New
Topographics: Photographs of a Man-Altered Landscape
, curated by William Jenkins,
and first held at the George Eastman House in Rochester, New York. Along with Robert Adams
and Joe Deal, among other photographers, Baltz advanced a documentary view of landscape
which appositionally responded to their photographic predecessors, such as Ansel Adams and
Edward Weston, by abandoning all traces of the sublimity of the natural world in their work
in favor of a detached, critical view of urban and suburban realities and their terrains.
In his serial work of the 1980s Baltz gradually shifted from black-and-white to color
photography. This shift coincided with his feeling that he had exhausted the subject of the
postwar industrial transformation of American landscape, and he began moving from creating
images evoking the past, however recent, to creating those meant to convey the future.
Candlestick Point (1984-1990), which includes his first
color images (12 out of the 84 images in the series are color), explores the temporality of
the no-man's land between the San Francisco airport and the city's ballpark. In this series,
Baltz's only United States commission, he documented the desolate landfill that was destined
to be made into Candlestick Point State Recreation Area.
Disenchanted with American Reagan-Bush era politics, Baltz moved to Europe in the late
1980s, where his use of color photography coincided with a paradigmatic shift in his serial
works from making what were essentially documentary images to making images with a more
explicit social and political content. He became especially interested in exploring the uses
and abuses of new technologies. In series such as
The Power
Trilogy
(1992-1995) Baltz explores the omnipresence of surveillance cameras and
society's increasing dependence on and subsequent vulnerability to powerful new science and
medical technologies. Next, his practice further moved from making traditionally-sized
serial photographs suitable for gallery and museum viewing, i.e. in a "private" setting, to
the creation of large-scale, site- or audience-specific works, often manifested as a single
image. These projects were primarily created for public spaces and broad public audience
participation. Furthermore, in works such as
Piazza Sigmund
Freud
(1989) and
SHHHH! (for Luxembourg) (1995)
Baltz broadened his definition of what a "site" might be, moving from the concept of a
concrete, physical place to seeing a site as embodying a social fabric, a community or the
history of a place. Yet, despite such shifts in his practice, Baltz's subject always
essentially remains the fraught and highly complex relationships between urban space,
architecture, landscape and ecology.
Seeing books as more democratic and less precious than original photographs, Baltz began
publishing from his serial work in 1974 with
The New Industrial Parks
near Irvine California
. Although he favored machine-made, mass-produced
publications over unique handmade artists' books, Baltz nevertheless insisted on achieving
facsimile reproduction in order to create an experience closer to or even better than
viewing an original photographic print. His early books were published by Leo Castelli
Gallery. In 1993 Baltz met the publisher Gerhard Steidl, the printer for the Fotomuseum
Winterthur's (Scalo Verlag) reproduction of the catalog for Baltz's 1990 retrospective
Rule without Exception. Steidl became his primary
publisher, producing new books as well as reprinting the early Castelli Gallery
publications.
Baltz was the recipient of numerous fellowships and awards, including a scholarship from
the National Endowment for the Arts (1973, 1977), the John Simon Guggenheim Memorial
Fellowship (1977), the US-UK Bicentennial Exchange Fellowship (1980), and the Charles Brett
Memorial Award (1991). He had over 50 one-person exhibitions, not only at Castelli, where he
was part of the gallery's stable for a number of years, but also at museums and galleries
such as the Corcoran Gallery of Art, Victoria and Albert Museum, the San Francisco Museum of
Modern Art, the Tokyo Institute of Polytechnics, and the Albertina. His work has also been
in more than 160 group exhibitions, commencing with
California
Photographers 1970
at the Pasadena Museum of Modern Art and including seven recent
thematic exhibitions in 2011, three of which were associated with the Getty initiative
Pacific Standard Time:
Under the Big Black Sun: California Art,
1974-1981
(MOCA);
It Happened at Pomona: Art at the Edge of
Los Angeles, 1969-1973
(Pomona College Museum of Art); and
Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography,
1944-1984
(California Museum of Photography, Riverside). Baltz's works are found
in museum collections including the Museum of Modern Art, New York; the Whitney Museum of
American Art, New York; the Tate Modern, London; and the Museum of Contemporary Art, Los
Angeles.
Baltz taught in numerous East Coast and West Coast American universities as well as at the
Università Iuav Di Venezia and the European Graduate School EGS in Saas-Fee, Switzerland. He
was married to the photographer Slavica Perkovic, with whom he frequently collaborated.
Baltz died in Paris in 2014.
Administrative Information
Access
Open for use by qualified researchers.
Publication Rights
Preferred Citation
Lewis Baltz notebooks and ephemera, 1987-2011, The Getty Research Institute, Los Angeles,
Accession no. 2015.M.27.
http://hdl.handle.net/10020/cifa2015m27
Acquisition Information
Gift of Heidi Yorkshire and Joseph Anthony. Acquired in 2015.
Processing History
The collection was processed in 2015 by Kathrin Schoenegg under the supervision of Kit
Messick. Material was rehoused and arranged in chronological order, and completely faded
thermographic paper was removed. The biographical/historical note was written by Beth Ann
Guynn.
Related Archival Materials
Lewis Baltz Archive, 1967-2013, Getty Research Institute, Accession no. 2013.M.31.
The library additionally holds a copy of Baltz's portfolio
Venezia
Marghera
(2013), Special Collections accession number 2014.R.17*.
Scope and Content of Collection
The collection comprises ephemera and personal notebooks belonging to photographer Lewis
Baltz (1945-2014) giving insight into his public exhibitions and daily life between
1987-2011. The material directly complements the Lewis Baltz archive (2013.M.31). The
ephemera documents Baltz's solo and group exhibitions through invitations to exhibition
openings, catalogues, printed articles, reviews, and notices by and about Baltz. The
material relates to projects including
Nevada,
Rule Without Exception, and
The Deaths in
Newport Beach
. Also present are several exhibition-related postcards sent by
Baltz, two photographic portraits, and three photographs by Baltz originating from a press
package. The notebooks present a detailed overview of Baltz's career-related activities and
expenses between 1995-2004. In addition to information about his daily routines and private
musings, the notebooks discuss various planned and realised projects such as exhibitions,
art fairs, purchases, films, lectures, conferences, and book and magazine publications. The
collection also provides insight to Baltz's international network of friends and colleagues
in the art world including well-known figures in Canada, Europe, Japan, and the United
States.
Arrangement
Arranged in two series:
Series I.
Ephemera, 1987-2011;
Series II. Notebooks,
1995-2004.
Indexing Terms
Subjects - Names
Rian,
Jeffrey
Schifferli,
Christoph
Lyon,
Dominique
Steidl, Gerhard
Aigner, Carl, 1954-
Stahel, Urs
Amelunxen, Hubertus von
Baltz, Lewis, 1945-2014
Subjects - Corporate Bodies
Museum of Contemporary Art (Los Angeles,
Calif.)
Fotomuseum
Winterthur
Kunst.Halle.Krems
Los Angeles County Museum of Art
Subjects - Topics
New topographics (Photography)
Art, American -- 20th century
Art, American -- 21st century
Genres and Forms of Material
Photographs, Original
Gelatin silver prints -- United States -- 20th century
Notebooks
Receipts (financial records)
Silver-dye bleach prints -- 20th century
Printed ephemera
Contributors
Baltz, Lewis,
1945-2014
Series I.
Ephemera,
1987-2011
Physical Description:
2.25 Linear
Feet
(3 boxes)
Scope and Content Note
Encompassing the years 1987-2011, the ephemera documents Baltz's solo and group
exhibitions through invitations to exhibition openings; exhibition catalogues; printed
articles by Baltz and articles, reviews, and notices by and about Baltz. The material is
related to projects including
Nevada,
Rule without Exception,
The Deaths in
Newport Beach
. Also included are several exhibition-related postcards sent by
Baltz, as well as two photographic portraits and three black-and-white and color
photographs by Baltz originating from a press package.
Arrangement
Material is arranged in chronological order.
box 1
Printed material,
1987-2011
Photographs,
1992, undated
box 5
Park City #13 and portraits,
1992
Scope and Content Note
Three 8 x 10 gelatin silver prints, comprising two portraits of Baltz and a
photograph by Baltz titled
Park City #13. The images
originate from the LACMA press package in box 1, folder 1. One portrait is assumed
to be part of a press package not included in the collection.
box 6
Kawasaki 1 B,
1992, undated
Scope and Content Note
Two identical 8 x 10 Cibachrome prints. One copy originates from from the LACMA
exhibition press package contained in box 1, folder 1; one is assumed to be part of
a press package not included in the collection. Labels on verso: "Cibachrome
40"x60"
Series II.
Notebooks,
1995-2004
Physical Description:
1.25 Linear
Feet
(3 boxes)
Scope and Content Note
Twenty-five spiral notebooks present a detailed overview of Baltz's career-related
activities and expenses between 1995-2004. In addition to information about his daily
routines and private musings, the notebooks describe various planned and realised
projects such as exhibitions; art fairs; purchases; films; lectures; conferences; and
book and magazine publications. Each notebook includes bills and receipts, and gives
insight into Baltz's international network of friends and colleagues in the art world
including curators, dealers, publishers, and other well-known figures in Canada, Europe,
Japan, and the United States.
Arrangement
Material is arranged in chronological order.
box 2, folder 1
1995 July 3 – September 10
Scope and Content Note
"Auto 1995" written on cover. Contains information on car mileage, toll expenses, and
Baltz's visa application for France.
box 2, folder 1
1995 January 1 – March 22
Scope and Content Note
Notebook contains information on Baltz's long-term stay in Paris. Travels include the
Netherlands, Germany, Finland, and Russia. Projects mentioned include: a planned
exhibition in Braunschweig with Hubertus von Amelunxen; gallery and art fair in
Munich; conference in Amsterdam; Austrian magazine
Camera
Austria
; possible exhibition at the Musée d'Art Moderne in Paris; possible
edition with editor Christophe Leger; possible presentation at Fonds National d'Art
Contemporain, Paris; and filmshoot in Leipzig. "1st quarter" written in ink on
cover.
box 2, folder 1
1995 March 23 – May 31
Scope and Content Note
Travels include Finland, Luxembourg, and Germany. Projects and topics mentioned
include: exhibition at Museum of Contemporary Art, Helsinki; Austrian Fotohof (Helmut
Seidel); planned exhibition at the Fotomuseum Winterthur, Switzerland (Urs Stahel);
exhibition catalogue with Mr. Hernandez; publication for the Austrian magazine
EIKON; possible publication in a Luxembourg magazine; video
project for Luxembourg; planned purchase of a Baltz portfolio by the Musée Europeen de
la Photographie (Ralph Gibson); and a conference in Goerlitz.
box 2, folder 2
1995 June 1 – June 24
Scope and Content Note
Projects mentioned include Hernandez's text for an exhibition catalogue and
production of a book with ESAS students. Meetings in Paris include IFA commission,
Hubertus von Amelunxen, and Michele Chomette.
box 2, folder 2
1995 July 8 – September 5
Scope and Content Note
Travels include Austria and Germany. Projects and topics mentioned include:
LA Times art critic; LACMA; the Canadian Centre for
Architecture; Centre Georges Pompidou, Paris; Baltz's contribution in the
Photography after Photography exhibition curated by Hubertus
von Amelunxen with a second venue at Kunst.Halle.Krems; a planned slide show in Lyon;
and a master's program with Baltz. Meetings include: Thomas Weski (Sprengel Museum
Hannover), Ulrich Bischoff (Galerie Neue Meister Dresden), Carl Aigner (Kunsthalle
Krems), and Hubertus von Amelunxen.
box 2, folder 2
1995 September 10 – December 31
Scope and Content Note
Travels include Germany, United States, Sweden, and Switzerland. Projects and topics
mentioned include: visa application/extension for France; conference at the Sprengel
Museum in Hannover; teaching in Braunschweig; Signes de Terre installation; gallery
installation in Mannheim; possible exhibits at Kunstverein Frankfurt, Musée d'Art
Moderne Villeneuve D'Ascg, and in Japan; planned exhibitions with Hubertus von
Amelunxen, Fotohof Edition Salzburg, and Whitney Museum;
The
Deaths in Newport
travelling to United States, Japan, and Europe;
Rue de Meaux for IFA, Fotomuseum Winterthur, and MC Gallery
Paris.
box 2, folder 3
1996 January 1 – May 31
Scope and Content Note
Travels include Switzerland, Germany, Sweden, Denmark, United States, Austria, and
Finland. Projects and topics mentioned include: visit at Essen University; public
lecture at Goetheborg Design Museum; conference in Reims; possible visiting
professorship at London Academy; lecture at Helsinki University; gallery installation
in Mannheim; IFA exhibit; Fotomuseum Winterthur exhibit; and planned exhibits at
SFMOMA, Galerie du Jour, LACMA, Frankfurter Kunsthalle, and Fotohof Gallery Salzburg.
Meetings include: Michele Chomette; Hubertus von Amelunxen; Mrs. Sabau (DZ Bank
Frankfurt Collection); Weston Neaf (J. Paul Getty Museum); Paul Schimmel (MOCA, Los
Angeles); and Cathy Durtis (
LA Times).
box 2, folder 3
1996 June 1 – November 30
Scope and Content Note
Travels include Germany, United States, Switzerland, Italy, and Belgium. Projects and
topics mentioned include: planned exhibitions in Japan (Taro Amaro), at the Whitney
Museum, in Leipzig, at the Fotomuseum Winterthur (for
Photography after Photography) and at Terre de Signes; possibility of a
solo show at the Deichtorhallen Hamburg; IFA installation; installation at Museum für
Gestaltung Zurich; opening in Brussels; possible donation to and/or purchase by LA
MOCA; a video and photography project in Zurich; and a conference in Reims. Meetings
include: Kirsten Nagel (Dresdner Bank collection); Marvin Heiferman; Walter Keller
(publisher); Victor Burgin (University of California Santa Cruz), Bice Curiger (editor
of
Parkett); Angelo Falzone (Mannheim Gallery); and
Jeff Rian (
Artforum).
box 2, folder 4
1996 December 1 – December 31
Scope and Content Note
Travels include United States. Projects mentioned include: photography project in San
Juan Bautista, California; planned exhibits at MOCA; and catalogue for Whitney Museum.
Meetings include: Victor Burgin, Marvin Heiferman, and Don Dudley.
box 2, folder 5
1997 January 1 – August 1
Scope and Content Note
Travels include United States, Sweden, and Germany. Projects mentioned include:
planned workshop and exhibition at Kunsthalle Krems for 1998; workshop and teaching at
the Hochschule Kiel; planned lecture and workshop at Royal College of Art, London;
planned monographic issue for
Creative Camera magazine
(David Brittain); various book projects; possible retrospective at the Städtische
Galerie Erlangen; and possible participation in
La Biennale
Internationale de l'Image de Nancy
. Meetings include: Hubertus von
Amelunxen; Carl Aigner (Kunsthalle Krems); Julia Brown (Guggenheim); and Victor
Burgin, among others.
box 3, folder 1
1997 August 21 – December 31
Scope and Content Note
Travels include United States, Canada, and Switzerland. Projects and topics mentioned
include: MOCA publication and exhibition design; workshop in Winnipeg; exhibition at
Whitney Museum; possible commission from Bregenz (Austria); film project
Lewis Baltz - Contact with ARTE; planned conference on
urbanism in Naples; invitation for conference of Art and Landscape in Montpellier; a
MOCA publication; and an interview for
La Biennale
Internationale de l'Image de Nancy
catalogue. Meetings include: Don Dudley;
Susa Templin (proposed artist for Nancy
Biennale);
Hubertus von Amelunxen; Julia Brown (Guggenheim); and Gerhard Steidl (publisher,
Steidl Verlag).
box 3, folder 2
1998 January 1 – June 2
Scope and Content Note
Travels include United States, Italy, England, Germany, and the Netherlands. Projects
mentioned include: LACMA exhibit; an Italian TV interview; a planned guest curation
project; MOCA exhibition catalogue with Gerhard Steidl; teaching at Royal College of
Art, London; and work on ARTE film
Lewis Baltz –
Contact
. Meetings include: Jean-Paul Robert; Françoise Fromonot; Mark
Harworth-Booth (Victoria & Albert Museum, London); Philipp Nebon (gallerist); Neil
Watson (Norton Museum, Palm Beach); Moritz Kung (independent curator, Brussels); Olaf
Nicolai; and Hubertus von Amelunxen.
box 3, folder 3
1998 June 4 – December 31
Scope and Content Note
Travels include Italy, Switzerland, Austria, Netherlands, United States, and England.
Projects and topics mentioned include: text for Fotomuseum Winterthur exhibition;
exhibition in Luebeck, Germany; possible publication of
Remake; and an installation in Venice. Meetings include: Jean-Paul Robert;
Olaf Nicolai; Michael Mauermacher (Fotohof Salzburg); Christoph Schifferli;
Hans-Ulrich Obrist; Laurence Bosse; and Victor Burgin.
box 3, folder 4
1999 January 2 – June 30
Scope and Content Note
Travels include United States, Italy, Germany, Austria, England, and the Netherlands.
Projects mentioned include:
Nevada Portfolio; lecture
in Krems; installation in Berlin; planned project for
Synthesie (online art review); exhibit at Antwerpen Fotomuseum. Meetings
include: Bernhard Lamarche-Vadel (author of
Lewis
Baltz
); Hubertus Amelunxen; Carl Aigner; Olivier Richon (Royal College of Art,
London); Marlene Klein (Venice Marghera Project); Michaela Ferrari; Regis Durand;
Dominique Lyon (collector, architect); Anthony Hernandez; and Mark Harworth-Booth
(Victoria & Albert Museum).
box 3, folder 4
1999 July 2 – December 31
Scope and Content Note
Travels include: Switzerland, Thailand, Germany, and Austria. Projects mentioned
include: exhibit at Fotomuseum Winterthur; book project with Gerhard Steidl;
conference in Bangkok; conference and teaching in Offenbach; and a project on
mutations. Meetings include: Christophe Schifferli; Urs Stahel; Jean-Paul Robert; Tina
Barney; Dominique Lyon; Jeff Rian; and Hans-Ulrich Obrist.
box 4, folder 1
2000 January 5 – Feb ruary 29
Scope and Content Note
Travels include Switzerland, Germany, and Italy. Projects mentioned include: Expo
project; project with
Purple; possible project with
Phaidon books; and Fotohof Salzburg project. Meetings include: Catherine Grout, Jeff
Rian, and Oliviere Boissiere.
box 4, folder 1
2000 March 1 – September 30
Scope and Content Note
Travels include United States, Germany, England, and Italy. Projects mentioned
include: catalogue for Strasbourg exhibition; teaching in Offenbach and Duckspool;
Fotomuseum Winterthur exhibition; Venice/Marghera exhibition; Phaidon book project;
Steidl book project. Meetings include: Olivier Boissiere; Catherine Grout; Sebastian
Vivas; Dominique Lyon; Hubertus von Amelunxen; Roland Hoffmann; Victor Burgin; and
Christophe Schifferli.
box 4, folder 1
2000 October 12 –December 31
Scope and Content Note
Travels include Italy, Germany, and United States. Projects mentioned include:
teaching in Offenbach; Phaidon book project; and
Hotel
Amat
. Meetings include: Dominique Lyon; Elisabeth Milton; Hubertus von
Amelunxen; Christophe Schifferli; Urs Stahel; and Michael Wagner.
box 4, folder 2
2001 January 1 – May 31
Scope and Content Note
Travels include United States and Germany. Projects mentioned include: Book project
with Jeff Rian; Steidl book project; and exhibit at Michele Chomette Gallery. Meetings
include: Hubertus von Amelunxen; Cathrine Grout; Michael Wagner; and Jeff Rian.
box 4, folder 2
2001 June 1 – December 31
Scope and Content Note
Travels include Germany, Italy, and Switzerland. Projects mentioned include: Planned
exhibition at Ecoles des Beaux Arts, Strasbourg;
Purple
project; exhibition in Karlsruhe; conference in Neaples; Phaidon book project; ARTE
film. Meetings include: Olivier Boissiere; Hubertus von Amelunxen; Dominique Lyon;
Elisabeth Millon; Jean-Paul Robert (editor); Regis Durand; Thomas Zander (Cologne
gallerist); Christophe Schifferli; Walter Keller (publisher).
box 4, folder 3
2002 January 1 – June 25
Scope and Content Note
Travels include United States, Japan, Italy, Germany, and Canada. Projects mentioned
include: Catalogue for Strasbourg exhibit; Regis Durand conference in Tokyo; workshop
at Triennale/Milano;
Purple project; Siemens project
with Olaf Nicolai; exhibit opening in Montreal, and possible purchase of Baltz works
by Deutsche Bank Frankfurt. Meetings include: Olivier Boissiere; Andrea Blum; Jeff
Rian; Catherine Grout; Hubertus von Amelunxen; Thomas Zander; and Dino Simonetti
(publisher).
box 4, folder 3
2002 July 4 –December 30
Scope and Content Note
Travels include Germany, United States, the Netherlands, and Switzerland. Projects
mentioned include:
Purple project; Thomas Zander
publication; two other book projects; lecture at Rotterdam; possible book project with
Markus Schaden. Meetings include: Jeff Rian; Olivier Boissiere; Victor Burgin;
Danielle Robert-Guidon; Markus Schaden; Hubertus von Amelunxen; and Federico
Mazzani.
box 4, folder 3
2003 January 1 – December 31
Scope and Content Note
Travels include Germany, Italy, England, United States, and Switzerland. Projects and
topics mentioned include: Planned book signing in London; acquisitions from Fotomuseum
Winterthur; Venice project; possible Italian translation of
Deaths in Newport; exhibition opening at Zander Gallery Cologne; exhibition
opening in London; planned teaching at Royal College of Art; exhibition opening at
Fotomuseum Wintherthur; Steidl project; and interview with Deutsche Welle Radio.
Meetings include: Christophe Boutin; Taro Amano; Federico Masotto; Olivier Boissiere;
Hubertus von Amelunxen; Catherine Grout; Angelo Falzone; Marvin Heiferman; Jeff Rian;
Andrea Blum (artist involved in Strasbourg project); Thomas Zander; and Thomas Seelig
(Fotomuseum Winterthur).
box 4, folder 4
2004 January 2 – May 28
Scope and Content Note
Travels include United States and Italy. Projects mentioned include: Venice project,
teaching, and students show. Meetings include: Urs Stahel; Thomas Weski; Christophe
Boutin; Regis Durand; Frederico Mazotto; and Jeff Rian.
box 4, folder 4
2004 June 1 – December 31
Scope and Content Note
Travels include England and the Netherlands. Projects mentioned include: Screening of
Lewis Baltz - Contact at Jeu de Paume; lecture at
Fotoinstitute Netherlands; and planned teaching in Arles. Meetings include: Olivier
Richon; Catherine Grout; Marc Connedieu (IFA); Urs Stahel; Gerhard Steidl; Olivier
Boissiere; Thomas Zander; Hubertus von Amelunxen; and Patric Talbot (ENP).
