Table Of Content

index ¢ afterimage ¢ JULY/AUGUST 1998 17 Starenko, Michael. “Assessing the M.F.A. in Photography” projects). 25:1, pp. 8-10. U.S. Media, edited by Clara E. Rodriguez). 25:4, p. 19. (essay: administrators of photography programs respond Computers. “Demo or Die: Performance Anxiety and the Dig- ——. “On the Road: Flaherty 1997” by Erika Muhammad to U.S. News and World Report's America’s Best Gradu- ital Artist” by Peter Lunenfeld (feature: the role of the (report: Robert Flaherty Film Seminar at Ithaca College). ate Schools—1997 Annual Guide). 25:1, p. 7. demonstration in digital culture). 25:3, pp. 11-13. 25:4, pp. 5-6. INDEX TO ——. "Debating the Value of the M.F.A.” (response to Debo- ——. “Electronic Time: The Memory Machines of Jim Camp- —. “Overcoming the Family Script” by Kelly Mink (film rah Bright's letter re. “Assessing the M.F.A. in Photogra- bell" by Marita Sturken (feature). 25:3, pp. 8-10. review: Oh, Rapunzel, by Cecelia Condit). 25:4, phy” by Michael Starenko, 25:1, p. 7). 25:3, p. 2. ——. “In Search of the Telephone Opera: From Communica- pp. 21-22. —. “Sontag'’s Reception" (essay: 20th anniversary of the tions to Art” by Peter Lunenfeld (feature: telephone art ——. “Pictures in Transition" by Valerie Soe (report: 15th San VOLUME 25 publication of On Photography, by Susan Sontag). 25:5, history, conceptualism and Web-based art projects). Francisco international Asian American Film Festival). p. 6. 25:1, pp. 8-10. 25:1, p. 3. AUTHOR Strocchia, Sarah. “Community Darkrooms” (news: Rochester's —. “Pixilated Drama” by Joe Milutis (essay: the cultural role ——. “The Quays’ Institute Benjamenta: An Olfactory View” Aufderheide, Patricia. “Public Intimacy: The Development of Community Darkroom celebrates its twentieth anniver- of the pixel). 25:3, pp. 6-7. by Laura U. Marks (feature film review). 25:2, pp. 11-13. a» First Person Documentary” (feature: P.O. V. on PBS; film- sary with renovations). 25:1, p. 2. —. “Screening the Digital" by Barbara L. Miller (report: ——. “Remembering Shirley Clarke” by DeeDee Halleck (obit- maker weekend workshops hosted by The American Sturken, Marita. “Electronic Time: The Memory Machines of D.FILM or Digital Film Festival, New York, NY). uary). 25:4, p. 3. Documentary; first-person journalism; Independent Tele- Jim Campbell” (feature). 25:3, pp. 8-10. 25:5, pp. 3-4. ——. “Space is the Place” by Jeffrey Skoller (film review: The vision Series; California Newsreel; Women Make Trend, David. “Christine Tamblyn, 1951-1998" (obituary). Condit, Cecelia. “Overcoming the Family Script” by Kelly Mink Last Angel of History, by John Akomfrah). 25:3, p. 14. Movies). 25:1, pp. 16-18. 25:5, p. 2. (filrn review: Oh, Rapunzel, by Cecelia Condit). 25:4, Flaherty seminar. “On the Road: Flaherty 1997” by Erika Auyoung, Poyin. “Narration and Intervention" (review: Sculp- Troy, Maria. “Urban Wildlife" (book review: Concrete Jungle, pp. 21-22. Muhammad (report: Robert Flaherty Film Seminar at ture Projects in Munster 1997). 25:3, pp. 16-17. edited by Mark Dion and Alexis Rockman). 25:2, p. 25. Conferences. “Scholarly Designs" by Amelie Hastie (report: Ithaca College). 25:4, pp. 5-6. Bard, Perry. “Making Strange” (report: Ostranenie ‘97 Elec- Trusky, Tom. “Ex Libris" (book review: The Century of Artists’ The Style Conference, Bowling Green, OH). 25:3, p. 4. Forensic Photography. “True Crime: Forensic Aesthetics on tronic Media Forum, Dessau, Germany). 25:5, p. 3. Books, by Johanna Drucker). 25:1, p. 19. Crime. “True Crime: Forensic Aesthetics on Display" by Gio- Display" by Giovanni Intra (feature exhibition and book Barlow, Melinda. “Mapping Space, Sculpting Time: Mary Luci- Wall, Angela. “Monstrous Mothers: Media Representations of vanni Intra (feature exhibition and book review: Scene of review: Scene of the Crime, by Ralph Rugoff; Police Pic- er and the Double Landscape” (feature). 25:2, pp. 6-10. Post-Menopausal Pregnancy" (feature). 25:2, pp. 14-16. the Crime, by Ralph Rugoff; Police Pictures: The Photo- tures: The Photograph as Evidence, essays by Sandra S. Bowen, Dore. “Feminist Looks" (book review: Reframings: Williams, Cam. “Being and Nothingness” (film review: 50 Feet graph as Evidence, essays by Sandra S. Phillips, Mark Phillips, Mark Haworth-Booth and Carol Squires). 25:5, New American Feminist Photographies, edited by Diane of String by Leighton Pierce). 25:3, p. 15. Haworth-Booth and Carol Squires). 25:5, pp. 12-14. pp. 12-14. Neumaier). 25:6, p. 18. Zanes, Warren. “Primative Myths: Photography and the Amer- Cultural studies. “Scholarly Designs" by Amelie Hastie (report: Fuss, Adam. “Visceral Photography: The Work of Adam Fuss” Bright, Deborah. “Debating the Value of the M.F.A." (letter re. ican South” (feature). 25:4, pp. 10-12. The Style Conference, Bowling Green, OH). 25:3, p. 4. by James Crump (feature). 25:1, pp. 11-12. “Assessing the M.F.A. in Photography” by Michael Death. “True Crime: Forensic Aesthetics on Display” by Gio- Gender. “Overcoming the Family Script" by Kelly Mink (film Starenko, 25:1, p. 7). 25:3, p. 2. vanni Intra (feature exhibition and book review: Scene of review: Oh, Rapunzel, by Cecelia Condit). 25:4, Bowles, K. Johnson. “Desert Solitaire” (review: Site Santa Fe SUBJECT the Crime, by Ralph Rugoff; Police Pictures: The Photo- pp. 21-22. 1996 and Longing and Belonging: The Faraway to Near- Aboriginal film/video. “Fantastic Narratives” by Jean Dykstra graph as Evidence, essays by Sandra S. Phillips, Mark Gentrification: “Nature as an Icon of Urban Resisiance: Artists, by, published by SITE Santa Fe). 25:2, p. 26. (review: Tracey Moffatt at Dia Center for the Arts). 25:4, Haworth-Booth and Carol Squires). 25:5, pp. 12-14. Gentrification and New York City’s Lower East Side, Chris, Cynthia. “San Diego's MoPA Moves Forward" (profile). p. 18. Diasporic culture. “Pictures in Transition” by Valerie Soe 1979-84" by Gregory Sholette (feature). 25:2, 25:3, p. 3. Aboriginal photography. “Fantastic Narratives” by Jean Dyk- (report: 15th San Francisco International Asian American pp. 17-20. Clemmer, David. “Contemporary Photography in Santa Fe" stra (review: Tracey Moffatt at Dia Center for the Arts). Film Festival). 25:1, p. 3. Globalization. “Migrating Capital and the Optics of Place: (report). 25:4, pp. 4-5. 25:4, p. 18. ——. “Space is the Place" by Jeffrey Skoller (film review: The Globalization and Representation" by Alyosha Goldstein Cohn, Terri. “Bay Area Photography” (report). 25:4, p. 7. Abstract film. “Being and Nothingness” by Cam Williams (film Last Angel of History, by John Akomfrah). 25:3, p. 14. and Rebecca Schreiber (feature: photographs of workers Crump, James. “Visceral Photography: The Work of Adam review: 50 Feet of String by Leighton Pierce). 25:3, p. 15. Digital culture. “Demo or Die: Performance Anxiety and the in the Lands’ End catalog). 25:4, pp. 13-16. Fuss” (feature). 25:1, pp. 11-12. Activism. “The Human/Land Dialectic: Anthropic Landscapes Digital Artist” by Peter Lunenfeld (feature: the role of the Haptic. “The Quays’ /nstitute Benjamenta: An Olfactory View" Dykstra, Jean. “Fantastic Narratives” (review: Tracey Moffatt at of the Center for Land Use Interpretation” by Kate Haug demonstration in digital culture). 25:3, pp. 11-13. by Laura U. Marks (feature film review). 25:2, pp. 11-13. Dia Center for the Arts). 25:4, p. 18. (feature). 25:2, pp. 3-5. ——. “Pixilated Drama” by Joe Milutis (essay: the cultural role Higher Education. “Assessing the M.F.A. in Photography” by Erickson, Leann. “Independent Film and Video in Boston” ——. “Nature as an Icon of Urban Resistance: Artists, Gentrifi- of the pixel). 25:3, pp. 6-7. Michael Starenko (essay: administrators of photography (report). 25:1, p. 5. cation and New York City's Lower East Side, 1979-84” by Documentary film/video. “Making Strange” by Perry Bard programs respond to U.S. News and World Report's Green, J. Ronald. “Always Already: Affinities Between Art and Gregory Sholette (feature). 25:2, pp. 17-20. (report: Ostranenie ‘97 Electronic Media Forum, Dessau, America’s Best Graduate Schools—1997 Annual Guide). Film” (feature exhibition and book review: Art and Film Advertising. “Migrating Capital and the Optics of Place: Glob- Germany). 25:5, p. 3. 25:1, p. 7. Since 1945: Hall of Mirrors, edited by Russell Ferguson). alization and Representation” by Alyosha Goldstein and ——. “On the Road: Flaherty 1997" by Erika Muhammad ——. “Debating the Value of the M.F.A." by Deborah Bright 25:5, pp. 8-11. Rebecca Schreiber (feature: photographs of workers in (report: Robert Flaherty Fiim Seminar at Ithaca College). (letter re. “Assessing the M.F.A. in Photography” by Greenstein, M. A. “L.A. Bodies" (review: Arthur Tress at the Lands’ End catalog). 25:4, pp. 13-16. 25:4, pp. 5-6. Michael Starenko, 25:1, p. 7). 25:3, p. 2. Stephen Cohen Gallery, Victor Skrebneski at Couturier ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: ——. “Public Intimacy: The Development of First Person Doc- ——. “Debating the Value of the M.F.A.” by Michael Starenko Gallery, Lucien Clergue at California Museum of Photog- Cindy Sherman's photographs). 25:3, p. 5. umentary” by Patricia Aufderheide (feature: PO.V. on (response to Deborah Bright's letter re. “Assessing the raphy). 25:4, p. 20. African film/video. “Beyond the Glitz" by Laura U. Marks PBS; filmmaker weekend workshops hosted by The M.FA. in Photography” by Michael Starenko, 25:1, p. 7). Goldstein, Alyosha and Rebecca Schreiber. “Migrating Capital (report: Toronto International Film Festival). 25:4, p. 8. American Documentary; first-person journalism; Inde- 25:3, p. 2. and the Optics of Place: Globalization and Representa- African American film/video. “Space is the Place” by Jeffrey pendent Television Series; California Newsreel; Women Historical memory. “The Human/Land Dialectic: Anthropic tion” (feature: photographs of workers in the Lands’ End Skoller (film review: The Last Angel of History, by John Make Movies). 25:1, pp. 16-18. Landscapes of the Center for Land Use Interpretation” by catalog). 25:4, pp. 13-16. Akomfrah). 25:3, p. 14. Documentary photography. “Migrating Capital and the Optics Kate Haug (feature). 25:2, pp. 3-5. Halleck, DeeDee. “Remembering Shirley Clarke” (obituary). Agee, James. “On DoubleTake" by Stephen Longmire (essay). of Place: Globalization and Representation” by Alyosha ——. “Sherman's Mass Appeal" by Barbara L. Miller (essay: 25:4, p. 3. 25:5, p. 5. Goldstein and Rebecca Schreiber (feature: photographs Cindy Sherman's photographs). 25:3, p. 5. Hastie, Amelie. “Scholarly Designs” (report: The Style Confer- Artists’ books. “Ex Libris" by Tom Trusky (book review: The of workers in the Lands’ End catalog). 25:4, pp. 13-16. History. “Desert Solitaire" by K. Johnson Bowles (review: Site ence, Bowling Green, OH). 25:3, p. 4. Century of Artists’ Books, by Johanna Drucker). 25:1, ——. “On DoubleTake” by Stephen Longmire (essay). 25:5, Santa Fe 1996 and Longing and Belonging: The Faraway Haug, Kate. “The Human/Land Dialectic: Anthropic Land- p. 19. p. 5. to Nearby, published by SITE Santa Fe). 25:2, p. 26. scapes of the Center for Land Use Interpretation” (fea- Arts funding. “Non-Profit Arts Sector Called ‘Elitist'” (news). DoubleTake. “On DoubleTake" by Stephen Longmire (essay). ——. “Film in the City” by Jesse Lerner (book review: The Cin- ture). 25:2, pp. 3-5. 25:4, p. 2. 25:5, p. 5. ematic City, edited by David B. Clarke; The History of Intra, Giovanni. “True Crime: Forensic Aesthetics on Display” ——. “Community Darkrooms" by Sarah Strocchia (news: Drucker, Johanna. “Ex Libris" by Tom Trusky (book review: The Forgetting: Los Angeles and the Erasure of Memory, by (feature exhibition and book review: Scene of the Crime, Rochester's Community Darkroom celebrates its twenti- Century of Artists’ Books, by Johanna Drucker). 25:1, Norman M. Klein). 25:6, p. 16. by Ralph Rugoff; Police Pictures: The Photograph as Evi- eth anniversary with renovations). 25:1, p. 2. . 19. History of film/video. “Always Already: Affinities Between Art dence, essays by Sandra S. Phillips, Mark Haworth-Booth Asian American film. “Pictures in Transition” by Valerie Soe Electronic art. “Electronic Time: The Memory Machines of Jim and Film" by J. Ronald Green (feature exhibition and - and Carol Squires). 25:5, pp. 12-14. (report: 15th San Francisco International Asian American Campbell” by Marita Sturken (feature). 25:3, pp. 8-10. book review: Art and Film Since 1945: Hall of Mirrors, Jacobs, David L. “Regarding Sontag, Again” (essay: 20th Film Festival). 25:1, p. 3. ——. “Making Strange” by Perry Bard (report: Ostranenie ‘97 edited by Russell Ferguson). 25:5, pp. 8-11. anniversary of the publication of On Photography, by Avant-garde film. “Always Already: Affinities Between Art and Electronic Media Forum, Dessau, Germany). 25:5, p. 3. ——. “Film in the City” by Jesse Lerner (book review: The Cin- Susan Sontag). 25:5, p. 7. Film” by J. Ronald Green (feature exhibition and book —. “Screening the Digital” by Barbara L. Miller (report: ematic City, edited by David B. Clarke; The History of Lerner, Jesse. “Film in the City" (book review: The Cinematic review: Art and Film Since 1945: Hall of Mirrors, edited D.FILM or Digital Film Festival, New York, NY). 25:5, Forgetting: Los Angeles and the Erasure of Memory, by City, edited by David B. Clarke; The History of Forget- by Russell Ferguson). 25:5, pp. 8-11. pp. 3-4. Norman M. Klein). 25:6, p. 16. ting: Los Angeles and the Erasure of Memory, by Nor- Biography. “A Figure Against A Ground: Reading Moholy at Environmentalism. “Nature as an Icon of Urban Resistance: History of photography. “Avoiding Difference” by Valerie man M. Klein.) 25:6, p. 16. 100” by Nancy Roth (feature: La4sz/6 Moholy-Nagy: Bio- Artists, Gentrification and New York City's Lower East Reardon (book review: /Iiuminations: Women Writing on Longmire, Stephen. “Back West: Reviewing American Land- graphical Writings, by Louis Kaplan; Picturing Mod- Side, 1979-84" by Gregory Sholette (feature). 25:2, pp. Photography from the 1850s to the Present, edited by Liz scape Photography” (feature exhibition and book review: ernism: Moholy-Nagy and Photography in Weimar Ger- 17-20. Heron and Val Williams). 25:4, p. 17. Crossing the Frontier: Photographs of the Developing many, by Eleanor Hight; In Focus: Laszi6 Moholy-Nagy, ——. “The Human/Land Dialectic: Anthropic Landscapes of ——. “Back West: Reviewing American Landscape Photogra- West, 1849 to the Present by Sandra S. Phillips, Richard edited by Katherine Ware; Ldszi6 Moholy-Nagy: the Center for Land Use Interpretation” by Kate Haug phy” by Stephen Longmire (feature exhibition and book Rodriguez, Aaron Betsky and Eldridge M. Moores; Per- Fotogramme 1922-1943, by the Centre Georges Pompi- (feature). 25:2, pp. 3-5. review: Crossing the Frontier: Photographs of the Devel- petual Mirage: Photographic Narratives of the Desert dou, Paris). 25:1, pp. 13-15. ——. “Urban Wildlife” by Maria Troy (book review: Concrete oping West, 1849 to the Present by Sandra S. Phillips, West by May Castelberry; The Desert Seen, by Lee Fried- Body. “Demo or Die: Performance Anxiety and the Digital Jungle, edited by Mark Dion and Alexis Rockman). Richard Rodriguez, Aaron Betsky and Eldridge M. lander; Crimes and Splendors: The Desert Cantos of Artist” by Peter Lunenfeld (feature: the role of the 25:2, p. 25. Moores; Perpetual Mirage: Photographic Narratives of Richard Misrach by Anne Wilkes Tucker with Rebecca demonstration in digital culture). 25:3, pp. 11-13. European film/video. “Making Strange” by Perry Bard (report: the Desert West by May Castelberry; The Desert Seen, Solnit). 25:2, pp. 21-24. ——. “L.A. Bodies” by M. A. Greenstein (review: Arthur Tress Ostranenie ‘97 Electronic Media Forum, Dessau, Ger- by Lee Friedlander; Crimes and Splendors: The Desert ——. “On DoubleTake" (essay). 25:5, p. 5. at Stephen Cohen Gallery, Victor Skrebneski at Couturier many). 25:5, p. 3. Cantos of Richard Misrach by Anne Wilkes Tucker with Lunenfeld, Peter. “In Search of the Telephone Opera: From Gallery, Lucien Clergue at California Museum of Photog- ——. “Narration and Intervention” by Poyin Auyoung (review: Rebecca Solnit). 25:2, pp. 21-24. Communications to Art" (feature: telephone art history, raphy). 25:4, p. 20. Sculpture Projects in Munster 1997). 25:3, p. 16-17. ——. “Centers and Peripheries in Contemporary Italian Pho- conceptualism and Web-based art projects). 25:1, ——. “Mapping Space, Sculpting Time: Mary Lucier and the European photography. “Centers and Peripheries in Contem- tography" by Maria Antonella Pelizzari (report). 25:1, pp. 8-10. Double Landscape” by Melinda Barlow (feature). 25:2, porary Italian Photography” by Maria Antonella Pelizzari p. 6 6. ——. “Demo or Die: Performance Anxiety and the Digital . 6-10. (report). 25:1, p. 6. ——. “Feminist Looks” by Dore Bowen (book review: Refram- Artist” (feature: the role of the demonstration in digital ——. yt Mothers: Media Representations of Post- ——. "A Figure Against A Ground: Reading Moholy at 100” by ings: New American Feminist Photographies, edited by culture). 25:3, pp. 11-13. Menopausal Pregnancy” by Angela Wall (feature). 25:2, Nancy Roth (feature: L4szi6 Moholy-Nagy: Biographical Diane Neumaier). 25:6, p. 18. Marks, Laura U. “The Quays’ institute Benjamenta: An Olfac- . 14-16. Writings, by Louis Kaplan; Picturing Modernism: ——. “A Figure Against A Ground: Reading Moholy at 100” by tory View” (feature film review). 25:2, pp. 11-13. —. Scholarly Designs” by Amelie Hastie (report: The Style Moholy-Nagy and Photography in Weimar Germany, by Nancy Roth (feature: L4sz/6 Moholy-Nagy: Biographical ——. “Beyond the Glitz” (report: Toronto International Film Conference, Bowling Green, OH). 25:3, p. 4. Eleanor Hight; In Focus: Laszi6 Moholy-Nagy, edited by Writings, by Louis Kaplan; Picturing Modernism: Festival). 25:4, p. 8. ——. “Space is the Place” by Jeffrey Skoller (film review: The Katherine Ware; Laszié6 Moholy-Nagy: Fotogramme Moholy-Nagy and Photography in Weimar Germany, by Miller, Barbara L. “Sherman's Mass Appeal" (essay: Cindy Last Angel of History, by John Akomfrah). 25:3, p. 14. 1922-1943, by the Centre Georges Pompidou, Paris). Eleanor Hight; /n Focus: Laszié6 Moholy-Nagy, edited by Sherman's photographs). 25:3, p. 5. ——. “True Crime: Forensic Aesthetics on Display” by Giovan- 25:1, pp. 13-15. Katherine Ware; Ldszi6 Moholy-Nagy: Fotogramme ——. “Screening the Digital” (report: D.FILM or Digital Film ni Intra (feature exhibition and book review: Scene of the Fashion Photography. “L.A. Bodies" by M. A. Greenstein 1922-1943, by the Centre Georges Pompidou, Paris). Festival, New York, NY). 25:5, pp. 3-4. Crime, by Ralph Rugoff; Police Pictures: The Photograph (review: Arthur Tress at Stephen Cohen Gallery, Victor 25:1, pp. 13-15. Milutis, Joe. “Pixilated Drama” (essay: the cultural role of the as Evidence, essays by Sandra S. Phillips, Mark Haworth- Skrebneski at Couturier Gallery, Lucien Clergue at Cali- ——. “Mapping Space, Sculpting Time: Mary Lucier and the pixel). 25:3, pp. 6-7. Booth and Carol Squires). 25:5, pp. 12-14. fornia Museum of Photography). 25:4, p. 20. Double Landscape" by Melinda Barlow (feature). 25:2, Mink, Kelly. “Overcoming the Family Script” (film review: Oh, Book arts. “Ex Libris” by Tom Trusky (book review: The Centu- ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: pp. 6-10. Rapunzel, by Cecelia Condit). 25:4, pp. 21-22. ty of Artists’ Books, by Johanna Drucker). 25:1, p. 19. Cindy Sherman's photographs). 25:3, p. 5. ——. “Modernism's Legacy” by Eve Ogden Schaub (book Muhammad, Erika. “On the Road: Flaherty 1997” (report: Boston film/video. “Independent Film and Video in Boston” by Feminism. “Avoiding Difference" by Valerie Reardon (book review: Trace and Transformation: American Criticism of Robert Flaherty Film Seminar at Ithaca College). 25:4, Leann Erickson (report). 25:1, p. 5. review: //luminations: Women Writing on Photography Photography in the Modernist Period, by Joe! Eisinger). . 5-6. British film/video. “Space is the Place” by Jeffrey Skoller (film from the 1850s to the Present, edited by Liz Heron and 25:6, p. 17. omer Schaub, Eve. “Modernism's Legacy” (book review: review: The Last Angel of History, by John Akomfrah). Val Williams). 25:4, p. 17. “Primative Myths: Photography and the American Trace and Transformation: American Criticism of Pho- 25:3, p. 14. ——. “Feminist Looks” by Dore Bowen (book review: Refram- South" by Warren Zanes (feature). 25:4, pp. 10-12. tography in the Modernist Period, by Joel Eisinger). 25:6, British photography. “Visceral Photography: The Work of ings: New American Feminist Photographies, edited by ——. “True Crime: Forensic Aesthetics on Display” by Giovan- 17 Adam Fuss” by James Crump (feature). 25:1, pp. 11-12. Diane Neumaier). 25:6, p. 18. ni Intra (feature exhibition and book review: Scene of the Pelizzari, Maria Antonella. “Centers and Peripheries in Con- CD-ROM. “On the Road: Flaherty 1997” by Erika Muhammad Festivals, film/video. “Beyond the Glitz” by Laura U. Marks Crime, by Ralph Rugoff; Police Pictures: The Photograph temporary Italian Photography” (report). 25:1, p. 6. (report: Robert Flaherty Film Seminar at Ithaca College). (report: Toronto International Film Festival). 25:4, p. 8. as Evidence, essays by Sandra S. Phillips, Mark Haworth- Reardon, Valerie. “Avoiding Difference" (book review: /Ilumi- 25:4, pp. 5-6. ——. “Screening the Digital” by Barbara L. Miller (report: Booth and Carol Squires). 25:5, pp. 12-14. nations: Women Writing on Photography from the Chicano issues. “Into the Picture" by Cecilia Rodriguez Milanés D.FILM or Digital Film Festival, New York, NY). 25:5, ——. “Visceral Photography: The Work of Adam Fuss” by 1850s to the Present, edited by Liz Heron and Val (book review: Latin Looks: Images of Latinas and Latinos pp. 3-4. James Crump (feature). 25:1, pp. 11-12. Williams). 25:4, p. 17. in the U.S. Media, edited by Clara E. Rodriguez). ——. “Making Strange” by Perry Bard (report: Ostranenie ‘97 Identity politics. “Into the Picture” by Cecilia. Rodriguez Rodriguez Milanés, Cecilia. “Into the Picture" (book review: 25:4, p. 19. Electronic Media Forum, Dessau, Germany). 25:5, p. 3. Milanés (book review: Latin Looks: Images of Latinas and Latin Looks: Images of Latinas and Latinos in the U.S. Cities. “Film in the City” by Jesse Lerner (book review: The ——. “On the Road: Flaherty 1997” by Erika Muhammad Latinos in the U.S. Media, edited by Clara E. Rodriguez). Media, edited by Clara E. Rodriguez). 25:4, p. 19. Cinematic City, edited by David B. Clarke; The History of (report: Robert Flaherty Film Seminar at ithaca College). 25:4, p. 19. Roth, Nancy. “A Figure Against A Ground: Reading Moholy at Forgetting: Los Angeles and the Erasure of Memory, by 25:4, pp. 5-6. ——. “Pictures in Transition” by Valerie Soe (report: 15th San 100” (feature: Laszié6 Moholy-Nagy: Biographical Writ- Norman M. Kiein). 25:6, p. 16. ——. “Pictures in Transition” by Valerie Soe (report: 15th San Francisco International Asian American Film Festival). ings, by Louis Kaplan; Picturing Modernism: Moholy-Nagy ——. “Narration and Intervention” by Poyin Auyoung (review: Francisco International Asian American Film Festival). ps by See and Photography in Weimar Germany, by Eleanor Hight; Sculpture Projects in Munster 1997). 25:3, pp. 16-17. 20:4, 0: 3. ——. “Southern Exposure” by Jordan Smith (book review: A In Focus: Laszi6 Moholy-Nagy, edited by Katherine Ware; ——. “Nature as an Icon of Urban Resistance: Artists, Gentrifi- Film and filmmakers. “Always Already: Affinities Between Art New Life: Stories & Photographs from the Suburban Laszl6 Moholy-Nagy: Fotogramme 1922-1943, by the cation and New York City’s Lower East Side, 1979-84” by and Film" by J. Ronald Green (feature exhibition and South, edited by Alex Harris with Ruth George). * Centre Georges Pompidou, Paris). 25:1, pp. 13-15. Gregory Sholette (feature). 25:2, pp. 17-20. book review: Art and Film Since 1945: Hall of Mirrors, 25:1, p. 20. Schaffner, Ingrid. “Rauschenberg’s Photographies” (review: ——. “Urban Wildlife” by Maria Troy (book review: Concrete edited by Russell Ferguson). 25:5, pp. 8-11. Independent production. “Independent Film and Video in Robert Rauschenberg at the Guggenheim Museum). Jungle, edited by Mark Dion and Alexis Rockman). ——. “Being and Nothingness" by Cam Williams (film review: Boston” by Leann Erickson (report). 25:1, p. 5. 25:5, p. 15. 25:2, p. 25. 50 Feet of String by Leighton Pierce). 25:3, p. 15. ——. “Making Strange” by Perry Bard (report: Ostranenie ‘97 Schreiber, Rebecca. see Alyosha Goldstein. Clarke, Shirley. “Remembering Shirley Clarke" by DeeDee HaF ——. “Beyond the Glitz" by Laura U. Marks (report: Toronto Electronic Media Forum, Dessau, Germany). 25:5, p. 3. Shelton, Jason. “The Photography Scene in Columbus” leck (obituary). 25:4, p. 3. International Film Festival). 25:4, p. 8. Installation. “Desert Solitaire” by K. Johnson Bowles (review: (report). 25:1, p. 4. Clergue, Lucien. “L.A. Bodies” by M. A. Greenstein (review: ——. “Screening the Digital” by Barbara L. Miller (report: Site Santa Fe 1996 and Longing and Belonging: The Far- Sholette, Gregory. “Nature as an Icon of Urban Resistance: Arthur Tress at Stephen Cohen Gallery, Victor Skrebneski D.FILM or Digital Film Festival, New York, NY). 25:5, away to Nearby, published by SITE Santa Fe). 25:2, p. 26. Artists, Gentrification and New York City's Lower East at Couturier Gallery, Lucien Clergue at California Muse- pp. 3-4. ——. “The Human/Land Dialectic: Anthropic Landscapes of Side, 1979-84" (feature). 25:2, pp. 17-20. um of Photography). 25:4, p. 20. ——. “Film in the City” by Jesse Lerner (book review: The Cin- the Center for Land Use Interpretation” by Kate Haug Skoller, Jeffrey. “Space is the Place" (film review: The Last Coles, Robert. “On DoubleTake" by Stephen Longmire (essay). ematic City, edited by David B. Clarke; The History of (feature). 25:2, pp. 3-5. Angel of History, by John Akomfrah). 25:3, p. 14. 25:5, p. 5. Forgetting: Los Angeles and the Erasure of Memory, by ——. “Mapping Space, Sculpting Time: Mary Lucier and the Soe, Valerie. “Pictures in Transition" (report: 15th San Francis- Columbus, Ohio. “The Photography Scene in Columbus” by Norman M. Klein). 25:6, p. 16. Double Landscape" by Melinda Barlow (feature). 25:2, co International Asian American Film Festival). 25:1, p. 3. Jason Shelton (report). 25:1, p. 4. ——. “Independent Film and Video in Boston” by Leann Erick- pp. 6-10. Smith, Jordan. “Southern Exposure” (book review: A New Life: Communications. “In Search of the Telephone Opera: From son (report). 25:1, p. 5. ——. “Narration and Intervention” by Poyin Auyoung (review: Stories & Photographs from the Suburban South, edited Communications to Art" by Peter Lunenfeld (feature: ——. “Into the Picture” by Cecilia Rodriguez Milanés (book Sculpture Projects in Munster 1997). 25:3, pp. 16-17. by Alex Harris with Ruth George). 25:1, p. 20. telephone art history, conceptualism and Web-based art review: Latin Looks: Images of Latinas and Latinos in the Internet. “Screening the Digital” by Barbara L. Miller (report: 18 JULY/AUGUST 1998 ¢ afterimage ¢ index D.FILM or Digital Film Festival, New York, NY). 25:5, tors of photography programs respond to U.S. News and Sculpture. “Narration and Intervention" by Poyin Auyoung pp. 3-4. World Report's America's Best Graduate Schools—1997 (review: Sculpture Projects in Munster 1997). 25:3, ——. “In Search of the Telephone Opera: From Communica- Annual Guide). 25:1, p. 7. pp. 16-17. Bay Area Photography. 25:4, p. 7. tions to Art" by Peter Lunenfeld (feature: telephone art ——. “Avoiding Difference" by Valerie Reardon (book review: Sherman, Cindy. “Sherman's Mass Appeal” by Barbara L. Contemporary Italian Photography. 25:1, p. 6. history, conceptualism and Web-based art projects). Illuminations: Women Writing on Photography from the Miller (essay: Cindy Sherman's photographs). 25:3, p. 5. Contemporary Photography in Santa Fe. 25:4, pp. 4-5. 25:1, pp. 8-10. 1850s to the Present, edited by Liz Heron and Val Site-Specificity. “Narration and Intervention” by Poyin Auy- D.FILM or Digital Film Festival, New York, NY. 25:5, pp. 3-4. Italian photography. “Centers and Peripheries in Contemporary Williams). 25:4, p. 17. oung (review: Sculpture Projects in Munster 1997). 25:3, Independent Film and Video in Boston. 25:1, p. 5. Italian Photography” by Maria Antonella Pelizzari ——. “Back West: Reviewing American Landscape Photogra- . 16-17. Ostranenie ‘97 Electronic Media Forum, Dessau, Germany. (report). 25:1, p. 6. phy” by Stephen Longmire (feature exhibition and book Skrebneski. “L.A. Bodies" by M. A. Greenstein (review: Arthur 25:5, p. 3. Kodak. “American Society of Media Photographers Drops review: Crossing the Frontier: Photographs of the Devel- Tress at Stephen Cohen Gallery, Victor Skrebneski at Robert Flaherty Film Seminar at Ithaca College. 25:4, pp. 5-6. Kodak.” (news). 25:4, p. 2. oping West, 1849 to the Present by Sandra S. Phillips, Couturier Gallery, Lucien Clergue at California Museum The Style Conference, Bowling Green, OH. 25:3, p. 4. Labor. “Migrating Capital and the Optics of Place: Globaliza- Richard Rodriguez, Aaron Betsky and Eldridge M. of Photography). 25:4, p. 20. Toronto International Film Festival. 25:4, p. 8. tion and Representation” by Alyosha Goldstein and Moores; Perpetual Mirage: Photographic Narratives of Sontag, Susan. “Regarding Sontag, Again” by David L. Jacobs Rebecca Schreiber (feature: photographs of workers in the Desert West by May Castelberry; The Desert Scene (essay: 20th anniversary of the publication of On Pho- the Lands’ End catalog). 25:4, pp. 13-16. by Lee Friedlander; Crimes and Splendors: The Desert tography, by Susan Sontag). 25:5, p. 7. Latino issues. “Into the Picture” by Cecilia Rodriguez Milanés Cantos of Richard Misrach by Anne Wilkes Tucker with ——. "Sontag’s Reception” by Michael Starenko (essay: 20th (book review: Latin Looks: Images of Latinas and Latinos Rebecca Solnit). 25:2, pp. 21-24. anniversary of the publication of On Photography, by in the U.S. Media, edited by Clara E. Rodriguez). ——. “Bay Area Photography” by Terri Cohn (report). 25:4, Susan Sontag). 25:5, p. 6. 25:4, p. 19. p. 7. South, the. “Primative Myths: Photography and the American REVIEWS Literature. “Southern Exposure” by Jordan Smith (book review: ——. “Centers and Peripheries in Contemporary Italian Photog- South" by Warren Zanes (feature). 25:4, pp. 10-12. A New Life: Stories & Photographs from the Suburban raphy” by Maria Antonella Pelizzari (report). 25:1, p. 6. ——. "Southern Exposure” by Jordan Smith (book review: A South, edited by Alex Harris with Ruth George). 25:1, . “Community Darkrooms” by Sarah Strocchia (news: New Life: Stories & Photographs from the Suburban BOOKS /CATALOGS p. 20. Rochester's Community Darkroom celebrates its twenti- South, edited by Alex Harris with Ruth George). Art and Film Since 1945: Hall of Mirrors edited by Russell Los Angeles. “Film in the City” by Jesse Lerner (book review: eth anniversary with renovations). 25:1, p. 2. 25:1, p. 20. The Cinematic City, edited by David B. Clarke; The His- “Contemporary Photography in Santa Fe" by David Style. “Scholarly Designs" by Amelie Hastie (report: The Style The CeFnetrugruys oonf. Ar2t5i:s6t,s ’ pBpo. ok8s-,1 0.b y Johanna Drucker. 25:1, p. 19. tory of Forgetting: Los Angeles and the Erasure of Mem- Clemmer (report). 25:4, pp. 4-5. Conference, Bowling Green, OH). 25:3, p. 4. The Cinematic City, edited by David B. Clarke. 25:6, p. 16. ory, by Norman M. Klein). 25:6, p. 16. ——. “Fantastic Narratives” by Jean Dykstra (review: Tracey ——. "Sherman's Mass Appeal" by Barbara L. Miller (essay: Concrete Jungle, edited by Mark Dion and Alexis Rockman ——. “L.A. Bodies” by M. A. Greenstein (review: Arthur Tress Moffatt at Dia Center for the Arts). 25:4, p. 18. Cindy Sherman's photographs). 25:3, p. 5. 25:2, p. 25. at Stephen Cohen Gallery, Victor Skrebneski at Couturier ——. “Feminist Looks” by Dore Bowen (book review: Refram- Surrealism. “A Figure Against A Ground: Reading Moholy at Crimes and Splendors: The Desert Cantos of Richard Misrach Gallery, Lucien Clergue at California Museum of Photog- ings: New American Feminist Photographies, edited by 100" by Nancy Roth (feature: Laszi6 Moholy-Nagy: by Anne Wilkes Tucker with Rebecca Solnit. 25:2, raphy). 25:4, p. 20. Diane Neumaier). 25:6, p. 18. Biographical Writings, by Louis Kaplan; Picturing Mod- ——. “True Crime: Forensic Aesthetics on Display” by Giovan- ——. “A Figure Against A Ground: Reading Moholy at 100" ernism: Moholy-Nagy and Photography in Weimar Ger- p. 21-24. ni Intra (feature exhibition and book review: Scene of the by Nancy Roth (feature: Lasz/6 Moholy-Nagy: Biograph- many, by Eleanor Hight; In Focus: Laszi6 Moholy-Nagy, Crossing the Frontier: Photographs of the Developing West, 1849 to the Present by Sandra S. Phillips, Richard Crime, by Ralph Rugoff; Police Pictures: The Photograph ical Writings, by Louis Kaplan; Picturing Modernism: edited by Katherine Ware; Ldsz/6 Moholy-Nagy: Rodriguez, Aaron Betsky and Eldridge M. Moores. 25:2, as Evidence, essays by Sandra S. Phillips, Mark Haworth- Moholy-Nagy and Photography in Weimar Germany, by Fotogramme 1922-1943, by the Centre Georges Pompi- pp. 21-24. Booth and Carol Squires). 25:5, pp. 12-14. Eleanor Hight; /n Focus: Laszi6 Moholy-Nagy, edited by dou, Paris). 25:1, pp. 13-15. Masculinity. “L.A. Bodies” by M. A. Greenstein (review: Arthur Katherine Ware; Lasz/6 Moholy-Nagy: Fotogramme Tamblyn, Christine. “Christine Tamblyn, 1951-1998" by David The Desert Seen, by Lee Friedlander. 25:2, pp. 21-24. Tress at Stephen Cohen Gallery, Victor Skrebneski at 1922-1943, by the Centre Georges Pompidou, Paris). Trend (obituary). 25:5, p. 2. The History of Forgetting: Los Angeles and the Erasure of Couturier Gallery, Lucien Clergue at California Museum 25:1, pp. 13-15. Technology. “Demo or Die: Performance Anxiety and the Dig- Memory, by Norman M. Klein. 25:6, p. 16. of Photography). 25:4, p. 20. ——. “The Human/Land Dialectic: Anthropic Landscapes of ital Artist” by Peter Lunenfeld (feature: the role of the Illuminations: Women Writing on Photography from the ——. “Scholarly Designs” by Amelie Hastie (report: The Style the Center for Land Use Interpretation” by Kate Haug demonstration in digital culture). 25:3, pp. 11-13. 1850s to the Present, edited by Liz Heron and Val Conference, Bowling Green, OH). 25:3, p. 4. (feature). 25:2, pp. 3-5. ——. “Screening the Digital” by Barbara L. L. Miller (report: Williams. 25:4, p. 17. Mass media. “Into the Picture” by Cecilia Rodriguez Milanés ——. “L.A. Bodies” by M. A. Greenstein (review: Arthur Tress D.FILM or Digital Film Festival, New York, NY). 25:5, In Focus: Laszi6 Moholy-Nagy, edited by Katherine Ware. (book review: Latin Looks: Images of Latinas and Latinos at Stephen Cohen Gallery, Victor Skrebneski at Couturier pp. 3-4. 25:1, pp. 13-15. in the U.S. Media, edited by Clara E. Rodriguez). Gallery, Lucien Clergue at California Museum of Photog- ——. “Electronic Time: The Memory Machines of Jim Camp- Laszl6 Moholy-Nagy: Biographical Writings, by Louis Kaplan. 25:4, p. 19. raphy). 25:4, p. 20. bell" by Marita Sturken (feature). 25:3, pp. 8-10. 25:1, pp. 13-15. ——. “Monstrous Mothers: Media Representations of Post- ——. “Mapping Space, Sculpting Time: Mary Lucier and the ——. “In Search of the Telephone Opera: From Communica- Ldszl6 Moholy-Nagy: Fotogramme 1922-1943, by the Centre Menopausal Pregnancy” by Angela Wall (feature). 25:2, Double Landscape” by Melinda Barlow (feature). 25:2, tions to Art" by Peter Lunenfeld (feature: telephone art Georges Pompidou, Paris. 25:1, pp. 13-15. pp. 14-16. pp. 6-10. history, conceptualism and Web-based art projects). Latin Looks: Images of Latinas and Latinos in the U.S. Media, ——. “Regarding Sontag, Again” by David L. Jacobs (essay: ——. “Modernism's Legacy” by Eve Ogden Schaub (book 25:1, pp. 8-10. edited by Clara E. Rodriguez. 25:4, p. 19. 20th anniversary of the publication of On Photography, review: Trace and Transformation: American Criticism of ——. “Monstrous Mothers: Media Representations of Post- Longing and Belonging: The Faraway to Nearby, published by by Susan Sontag). 25:5, p. 7. Photography in the Modernist Period, by Joel Eisinger). Menopausal Pregnancy” by Angela Wall (feature). 25:2, SITE Santa Fe. 25:2, p. 26. ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: 25:6, p. 17. pp. 14-16. A New Life: Stories & Photographs from the Suburban South, Cindy Sherman's photographs). 25:3, p. 5. ——. “The Photography Scene in Columbus” by Jason Shelton ——. “Narration and Intervention” by Poyin Auyoung (review: edited by Alex Harris with Ruth George. 25:1, p. 20. Memory. Being and Nothingness” by Cam Williams (film (report). 25:1, p. 4. Sculpture Projects in Munster 1997). 25:3, pp. 16-17. On Photography, by David L. Jacobs and Michael Starenko. review: 50 Feet of String by Leighton Pierce). 25:3, p. 15. . “Primative Myths: Photography and the American ——. “Pixilated Drama” by Joe Milutis (essay: the cultural role 25:5, pp. 6-7. ——. “Electronic Time: The Machines of Jim Camp- South” by Warren Zanes (feature). 25:4, pp. 10-12. of the pixel). 25:3, pp. 6-7. Perpetual Mirage: Photographic Narratives of the Desert West, bell" by Marita Sturken (feature). 25:3, pp. 8-10. ——. “Rauschenberg’s Photographies” by Ingrid Schaffner Telephone art. “In Search of the Telephone ra: From Com- by May Castelberry, Martha Sandweiss, et al. 25:2, ——. “Fantastic Narratives” by Jean Dykstra (review: Tracey (review: Robert Rauschenberg at the Guggenheim Muse- munications to Art" by Peter Lunenfeld (feature: tele- pp. 21-24. Moffatt at Dia Center for the Arts). 25:4, p. 18. um). 25:5, p. 15. phone art history, conceptualism and Web-based art pro- Picturing Modernism: Moholy-Nagy and Photography in ——. “Mapping Space, Sculpting Time: Mary Lucier and the ——. “Regarding Sontag, Again” by David L. Jacobs (essay: jects). 25:1, pp. 8-10. Weimar Germany, by Eleanor Hight. 25:1, pp. 13-15. Double Landscape” by Melinda Barlow (feature). 25:2, 20th anniversary of the publication of On Photography, ——. “Making Strange” by Perry Bard (report: Ostranenie ‘97 Police Pictures: The Photograph as Evidence, essays by Sandra pp. 6-10. by Susan Sontag). 25:5, p. 7. Electronic Media Forum, Dessau, Germany). 25:5, p. 3. S. Phillips, Mark Haworth-Booth and Carol Squires. ——. “Narration and Intervention” by Poyin Auyoung (review: ——. “San Diego's MoPA Moves Forward” by Cynthia Chris Television. “Into the Picture” by Cecilia Rodriguez Milanés 25:5, pp. 12-14. Sculpture Projects in Munster 1997). 25:3, pp. 16-17. (profile). 25:3, p. 3. (book review: Latin Looks: Images of Latinas and Latinos Reframings: New American Feminist Photographies, edited by ——. “Overcoming the Family Script” by Kelly Mink (film —. “Scholarly Designs” by Amelie Hastie (report: The Style in the U.S. Media, edited by Clara E. Rodriguez). Diane Neumaier. 25:6, p. 18. review: Oh, Rapunzel, by Cecelia Condit). 25:4, Conference, Bowling Green, OH). 25:3, p. 4. 25:4, p. 19. Robert Rauschenberg: A Retrospective, by Walter Hopps. pp. 21-22. ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: Tress, Arthur. “L.A. Bodies” by M. A. Greenstein (review: 25:6, p. 15. Modernism. “Modernism's Legacy” by Eve Ogden Schaub Cindy Sherman's photographs). 25:3, p. 5. Arthur Tress at Stephen Cohen Gallery, Victor Skrebneski Scene of the Crime, by Ralph Rugoff. 25:5, pp. 12-14. (book review: Trace and Transformation: American Crit- ——. “Sontag’s Reception” by Michael Starenko (essay: 20th at Couturier Gallery, Lucien Clergue at California Muse- Trace and Transformation: American Criticism of Photography icism of Photography in the Modernist Period, by Joel anniversary of the publication of On Photography, by um of Photography). 25:4, p. 20. in the Modernist Period, by Joel Eisinger. 25:6, p. 17. Eisinger). 25:6, p. 17. Susan Sontag). 25:5, p. 6. Urban space. “Film in the City” by Jesse Lerner (book review: ——. “A Figure Against A Ground: Reading Moholy at 100” ——. “Southern Exposure” by Jordan Smith (book review: A The Cinematic City, edited by David B. Clarke; The His- by Nancy Roth (feature: L4sz/6 Moholy-Nagy: Biograph- New Life: Stories & Photographs from the Suburban tory of Forgetting: Los Angeles and the Erasure of Mem- ical Writings, by Louis Kaplan; Picturing Modernism: South, edited by Alex Harris with Ruth George). 25:1, ory, by Norman M. Klein). 25:6, p. 16. Moholy-Nagy and Photography in Weimar Germany, by p. 20. ——. “Narration and Intervention” by Poyin Auyoung (review: “Art and Film Since 1945: Hall of Mirrors" at the Museum of Eleanor Hight; in Focus: Laszi6 Moholy-Nagy, edited by ——. “True Crime: Forensic Aesthetics on Display” by Giovan- Sculpture Projects in Munster 1997). 25:3, pp. 16-17. Contemporary Art, Los Angeles. 25:6, pp. 8-10. Katherine Ware; Ldszi6 Moholy-Nagy: Fotogramme ni Intra (feature exhibition and book review: Scene of the ——. “Nature as an Icon of Urban Resistance: Artists, Gentrifi- “Arthur Tress, New Work” by Arthur Tress at Stephen Cohen 1922-1943, by the Centre Georges Pompidou, Paris). Crime, by Ralph Rugoff; Police Pictures: The Photograph cation and New York City's Lower East Side, 1979-84” by Gallery, Los Angeles. 25:4, p. 20. 25:1, pp. 13-15. as Evidence, essays by Sandra S. Phillips, Mark Haworth- Gregory Sholette (feature). 25:2, pp. 17-20. “Crimes and Splendors: The Desert Cantos of Richard Misrach” Moffatt, Tracey. “Fantastic Narratives” by Jean Dykstra Booth and Carol Squires). 25:5, pp. 12-14. ——. “Urban Wildlife” by Maria Troy (book review: Concrete at the Museum of Fine Arts, Houston. 25:2, pp. 21-24. (review: Tracey Moffatt at Dia Center for the Arts). 25:4, ——. “Visceral Photography: The Work of Adam Fuss” by Jungle, edited by Mark Dion and Alexis Rockman). “Crossing the Frontier: Photographs of the Developing West, p. 18. James Crump (feature). 25:1, pp. 11-12. 25:2, p. 25. 1849 to the Present” at the San Francisco Museum of Moholy-Nagy, Laszl6. “A Figure Against A Ground: Reading Pixel. “Pixilated Drama” by Joe Milutis (essay: the cultural role U.S. News and World Report. “Assessing the M.F.A. in Pho- Modern Art. 25:2, pp. 21-24. Moholy at 100” by Nancy Roth (feature: Lasz/6 of the pixel). 25:3, pp. 6-7. tography” by Michael Starenko (essay: administrators of “Free-falling” by Tracey Moffatt at Dia Center for the Arts. Moholy-Nagy: Biographical Writings, by Louis Kaplan; Popular culture. “Scholarly Designs” by Amelie Hastie (report: photography programs respond to U.S. News and World 25:4, p. 18. Picturing Modernism: Moholy-Nagy and Photography The Style Conference, Bowling Green, OH). 25:3, p. 4. Report's America’s Best Graduate Schools1997 Annual “Perpetual Mirage: Photographic Narratives of the Desert in Weimar Germany, by Eleanor Hight; In Focus: Laszl6 ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: Guide). 25:1, p. 7. West" at the Whitney Museum of American Art, New Moholy-Nagy, edited by Katherine Ware; Ldsz/é Cindy Sherman's photographs). 25:3, p. 5. Video art. “Electronic Time: The Memory Machines of Jim York. 25:2, pp. 21-24. Moholy-Nagy: Fotogramme 1922-1943, by the Centre Postmodernism. “In Search of the Telephone Opera: From Campbell” by Marita Sturken (feature). 25:3, pp. 8-10. “Police Pictures: The Photograph as Evidence” at the San Fran- Georges Pompidou, Paris). 25:1, pp. 13-15. Communications to Art" by Peter Lunenfeld (feature: ——. “Making Strange” by Perry Bard (report: Ostranenie ‘97 cisco Museum of Modern Art. 25:5, pp. 12-14. Multiculturalism. “Into the Picture” by Cecilia Rodriguez telephone art history, conceptualism and Web-based art Electronic Media Forum, Dessau, Germany). 25:5, p. 3. “Robert Rauschenberg: A Retrospective” at the Guggenheim Milanés (book review: Latin Looks: Images of Latinas and projects). 25:1, pp. 8-10. ——. “Mapping Space, Sculpting Time: Mary Lucier and the Museum. 25:6, p. 15. Latinos in the U.S. Media, edited by Clara E. Rodriguez). ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: Double Landscape” by Melinda Barlow (feature). 25:2, “Scene of the Crime” at the University of California, Los Ange- 25:4, p. 19. Cindy Sherman's photographs). 25:3, p. 5. pp. 6-10. les, Armand Hammer Museum of Art and Cultural Cen- ——. “Migrating Capital and the Optics of Place: Globalization Poststructuralism. “Space is the Place" by Jeffrey Skoller (film ——. “Narration and Intervention” by Poyin Auyoung (review: ter. 25:5, pp. 12-14. and Representation” by Alyosha Goldstein and Rebecca review: The Last Angel of History, by John Akomfrah). Sculpture Projects in Munster 1997). 25:3, pp. 16-17. Sculpture Projects in Munster 1997. 25:3, pp. 16-17. Schreiber (feature: photographs of workers in the Lands’ 25:3, p. 14. West, The. “Back West: Reviewing American Landscape Pho- “Signs of Gods and Goddesses” by Lucien Clergue at the Cal- End catalog). 25:4, pp. 13-16. Preservation, film. “On the Road: Flaherty 1997” by Erika tography” by Stephen Longmire (feature exhibition and ifornia Museum of Photography, Riverside. 25:4, p. 20. Multimedia. “Demo or Die: Performance Anxiety and the Dig- Muhammad (report: Robert Flaherty Film Seminar at book review: Crossing the Frontier: Photographs of the “SITE Santa Fe 1996” curated by Bruce W. Ferguson and Vin- ital Artist” by Peter Lunenfeld (feature: the role of the Ithaca College). 25:4, pp. 5-6. Developing West, 1849 to the Present by Sandra S. cent J. Varga. 25:2, p. 26. demonstration in digital culture). 25:3, pp. 11-13. Public art. “Always Already: Affinities Between Art and Film" Phillips, Richard Rodriguez, Aaron Betsky and Eldridge “Skrebneski Clothed” by Victor Skrebneski at the Couturier ——. “Electronic Time: The Memory Machines of Jim Camp- by J. Ronald Green (feature exhibition and book review: M. Moores; Perpetual Mirage: Photographic Narratives Gallery, Los Angeles. 25:4, p. 20. bell” by Marita Sturken (feature). 25:3, pp. 8-10. Art and Film Since 1945: Hall of Mirrors, edited by Rus- of the Desert West by May Castelberry; The Desert “The Sonoran Desert” by Lee Friedlander at the Center for ——. “Making Strange” by Perry Bard (report: Ostranenie ‘97 sell Ferguson). 25:5, pp. 8-11. Seen, by Lee Friedlander; Crimes and Splendors: The Creative Photography, Tucson. 25:2, pp. 21-24. Electronic Media Forum, Dessau, Germany). 25:5, p. 3. ——. “The Human/Land Dialectic: Anthropic Landscapes of Desert Cantos of Richard Misrach by Anne Wilkes Tuck- 1996-97 exhibition season (photography) in Columbus, OH. ——. “Narration and Intervention” by Poyin Auyoung (review: the Center for Land Use Interpretation” by Kate Haug er with Rebecca Solnit). 25:2, pp. 21-24. 25:1, p. 4. Sculpture Projects in Munster 1997). 25:3, pp. 16-17. (feature). 25:2, pp. 3-5. ——. “The Human/Land Dialectic: Anthropic Landscapes of Museums. “Bay Area Photography” by Terri Cohn (report). ——. “In Search of the Telephone Opera: From Communica- the Center for Land Use Interpretation” by Kate Haug 25:4, p. 7. tions to Art" by Peter Lunenfeld (feature: telephone art (feature). 25:2, pp. 3-5. FILM/VIDEO ——. “The Photography Scene in Columbus” by Jason Shelton history, conceptualism and Web-based art projects). Women and representation. “Avoiding Difference” by Valerie (report). 25:1, p. 4. 25:1, pp. 8-10. Reardon (book review: //luminations: Women Writing Buud Yam, by Gaston J-M. Kaboré. 25:4, p. 8. ——. “San Diego's MoPA Moves Forward” by Cynthia Chris ——. “Narration and Intervention” by Poyin Auyoung (review: on Photography from the 1850s to the Present, edited D.FILM or Digital Film Festival, New York, NY. 25:5, pp. 3-4. (profile). 25:3, p. 3. Sculpture Projects in Munster 1997). 25:3, pp. 16-17. by Liz Heron and Val Williams). 25:4, p. 17. 15th San Francisco International Asian American Film Festival. National Endowment for the Arts. “Non-Profit Arts Sector ——. “Nature as an Icon of Urban Resistance: Artists, Gentrifi- ——. “Feminist Looks” by Dore Bowen (book review: Refram- 25:1, p. 3. Called ‘Elitist.'" (news). 25:4, p. 2. cation and New York City’s Lower East Side, 1979-84" by ings: New American Feminist Photographies, edited by 50 Feet of String, by Leighton Pierce. 25:3, p. 15. Nationalism. “Centers and Peripheries in Contemporary Italian Gregory Sholette (feature). 25:2, pp. 17-20. Diane Neumaier). 25:6, p. 18. Institute Benjamenta, by the Brothers Quay. 25:2, pp. 11-13. Photography” by Maria Antonella Pelizzari (report). Public access. “Community Darkrooms” by Sarah Strocchia ——. “Into the Picture” by Cecilia Rodriguez Milanés (book The Last Angel of History, by John Akomfrah. 25:3, p. 14. 25:1, p. 6. (news: Rochester's Community Darkroom celebrates its review: Latin Looks: Images of Latinas and Latinos in the Oh, Rapunzel, by Cecelia Condit. 25:4, pp. 21-22. ——. “Migrating Capital and the Optics of Place: Globalization twentieth anniversary with renovations). 25:1, p. 2. U.S. Media, edited by Clara E. Rodriguez). 25:4, p. 19. Ostranenie ‘97 Electronic Media Forum, Dessau, Germany. and Representation” by Alyosha Goldstein and Rebecca Rauschenberg, Robert. “Rauschenberg’s Photographies” by ——. “Monstrous Mothers: Media Representations of Post- a7. p. 3. Schreiber (feature: photographs of workers in the Lands’ Ingrid Schaffner (review: Robert Rauschenberg at the Menopausal Pregnancy” by Angela Wall (feature). 25:2, Robert Flaherty Film Seminar, Ithaca, NY. 25:4, pp. 5-6. End catalog). 25:4, pp. 13-16. Guggenheim Museum). 25:5, p. 15. pp. 14-16. Sick: The Life and Death of Bob Flanagan, by Kirby Dick. New York City. “Nature as an Icon of Urban Resistance: Reception. “Regarding Sontag, Again” by David L. Jacobs ——. “Overcoming the Family Script” by Kelly Mink (film 25:4, p. 8. Artists, Gentrification and New York City’s Lower East (essay: 20th anniversary of the publication of On Pho- review: Oh, Rapunzel, by Cecelia Condit). 25:4, Toronto International Film Festival. 25:4, p. 8. Side, 1979-84" by Gregory Sholette (feature). 25:2, tography, by Susan Sontag). 25:5, p. 7. pp. 21-22. pp. 17-20. ——. “Sontag’s Reception” by Michael Starenko (essay: 20th ——. “Scholarly Designs” by Amelie Hastie (report: The Style Obituaries. “Christine Tamblyn, 1951-1998” by David Trend. anniversary of the publication of On Photography, by Conference, Bowling Green, OH). 25:3, p. 4. 25:5, p. 2. Susan Sontag). 25:5, p. 6. ——. “Sherman's Mass Appeal” by Barbara L. Miller (essay: ——. “Remembering Shirley Clarke" by DeeDee Halleck. 25:4, Regionalism. “Primative Myths: Photography and the Ameri- Cindy Sherman's photographs). 25:3, p. 5. p. 3. can South" by Warren Zanes (feature). 25:4, pp. 10-12. On Photography. “Regarding Sontag, Again" by David L. Reproductive rights. “Monstrous Mothers: Media Representa- Jacobs (essay: 20th anniversary of the publication of On tions of Post-Menopausal Pregnancy” by Angela Wall NEWS Photography, by Susan Sontag). 25:5, p. 7. (feature). 25:2, pp. 14-16. ——. “Sontag’s Reception” by Michael Starenko (essay: 20th San Diego. “San Diego's MoPA Moves Forward” by Cynthia American Society of Media Photographers Drops Kodak. anniversary of the publication of On Photography, by Chris (profile). 25:3, p. 3. 25:4, p. 2. Susan Sontag). 25:5, p. 6. San Francisco. “Bay Area Photography” by Terri Cohn (report). Christine Tamblyn, 1951-1998. 25:5, p. 2. Performance. “Demo or Die: Performance Anxiety and the 25:4, p. 7. Non-Profit Arts Sector Called “Elitist.” 25:4, p. 2. Digital Artist” by Peter Lunenfeld (feature: the role of the Santa Fe. <b Photography in Santa Fe” by David Remembering Shirley Clarke. 25:4, p. 3. demonstration in digital culture). 25:3, pp. 11-13. Clemmer (report). 25:4, pp. 4-5. Rochester's Community Darkroom celebrates its twentieth Photography and photographers. “Assessing the M.FA. in Science fiction. “Space is the Place” by Jeffrey Skoller (film review: anniversary with renovations. 25:1, p. 2. Photography” by Michael Starenko (essay: administra- The Last Angel of History, by John Akomfrah). 25:3, p. 14.