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6-1-1985
Displaced Vignettes/Memory Trace
Elizabeth GafarianFollow this and additional works at:http://scholarworks.rit.edu/theses
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Recommended Citation
DISPLACED VIGNETTES/MEMORY TRACE
BY
Elizabeth Gafarian
Submitted in Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
MFA PHOTOGRAPHY PROGRAM
SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCES
ROCHESTER INSTITUTE OF TECHNOLOGY
ROCHESTER, NEW YORK
Bea Nettles, Chairperson Professor of Photography
June,
1985
University of Illinois at Urbana-Champaign
Robert Heinecken Professor of Art
University of California at Los Angeles
Richard D. Zakia
Professor of Photography
Premission Statement
Title of Thesis: Displaced Vignettes/Memory Trace
I, Elizabeth Gafarian prefer to be contacted each time a request
for reproduction is made. I can be reached at the following
address: 1033 Ocean Avenue, #304, Santa Monica, California 90403.
Date: June
7,
1985TABLE OF CONTENTS
DISPLACED VIGNETTES: COLOR PHOTOGRAPHS 1-22
Introduction
Background-Invest igations
The Images
DISPLACED VIGNETTES/MEMORY TRACE: AN INSTALLATION 23-59
Introduction
Background-Investigations
Videotape-Collaboration
Vi deotape- Soundtrack
The Final Presentation
AFTERTHOUGHTS 6l
ACKNOWLEDGEMENTS 6j
APPENDIX 65-80
Business and Organizations Thesis Proposal
Slides
DISPLACED VIGNETTES: COLOR PHOTOGRAPHS
Introduction
The photographs from my thesis exhibition are part of the series
Displaced Vignettes. They are 8 x 10-in. color contact dye transfer prints. The images are vignettes that suggest an
imaginary tale that can be interpreted broadly. The staging of
the photographs is theatrical and deliberate. The objects have been fabricated from a variety of materials to function in each piece. These symbolic narratives are part of an evolving personal
mythology.
Background-Investigations
For several years prior to this work I was involved with nonsilver and extended photo media. This way of working allowed me to expand
the surface and explore the possibilities beyond "straight" photographic conventions. The work was primarily figurative combining different processes and techniques. The emotional
content was achieved through manipulation and alteration of the
photographic surface .
During my first year of graduate school I took a workshop with
John Wood dealing with collage and montage, studied extended photo media with Bea Nettles and the structure of the visual book with
Keith Smith. These experiences were very valuable. I began to
especially challenging, dealing with issues of sequence, tran
sition, movement and memory. Bookmaking emphasizes the nature of
observation as an experience in space and time- This kind of
process liberated my notions of the art object and furthered my
understanding of more complex and integrated visual relationships.
I was inspired by the tactile nature of creating a visual book.
I completed my book Passage while taking a class from Nathan Lyons
at the Visual Studies Workshop, Rochester, New York. The book
deals with the figurative and symbolic passage from life to death.
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During this time I felt a need to follow the notions of tactility
and craft. I began to investigate other forms outside photography.
My experience of viewing and making photographs lacked the physical
presence and immediacy that I was interested in. To further these investigations I began working with various sculptural materials.
I wanted to work figuratively so I used casting materials . I
I did not see these figurative forms as finished pieces, but saw
the possibilities of using them as props for photographs. I began
to work with these and other objects in my studio creating private
and personal still lifes. I was able to manipulate the subject
matter freely and choose appropriate sites. The still lifes
developed slowly evolving conceptual and visual ideas. They
possessed a theatrical quality, color and lighting being important
tools. Each piece was designed for a specific camera position and
lens. I worked with an 8 x 10-in. view camera to emphasize a sense
of hyper-reality.
These still lifes lead to the series of photographs Displaced
Vignettes. Displaced Vignettes could be considered part of the
genre called tableau photography. The theatrical nature of a
tableau tends to be literary and historical, influenced by
Symbolist and Surrealist thinking.
I am interested in work that can be described as Symbolist in that
there is another order of meaning. I have used symbols as a
one-to-one equivalence between the symbol used and the meaning intended
as well as a deliberate suggestion or metaphor of something other.
Surrealism implies in the broadest philosophical sense a tendency
to draw from the realm of the irrational. Dreams, fantasy,
imagination and free play are the resources for art and thought.
My interests are related to the development of Jungian thought.
I have interpreted Jung's concepts of the collective unconscious
and evolving archetypal figures as a rich visual source. Sallie
Nichols'
book, Jung and Tarot: An Archetypal Journey was a strong
influence on my work. She uses the twenty-two trump cards of the
Marseilles Tarot as projection holders which symbolically represent
the autonomous and instinctual forces of the archetypes. In
1
Herschel B. Chipp, Theories of Modern Art: A Source Book by
Artists and Critics, with Contributions by Peter Selz and Joshua C~. Taylor (Berkeley, Los Angeles and London: University of
Displaced Vignettes I have used specific cards as references to
2
particular aspects and events in the Jungian evolution of self.
Another significant influence I have had regarding this work was
the short stories by author Raymond Carver. In particular,
What We Talk About When We Talk About Love and Will You Please
Be Quiet, Please. These are meticulously assembled collections
with characters emerging as subtly and sickeningly familiar. There
is a persistent echo of recognition. These stories inspired the
title Displaced Vignettes and offered the possibility of fabricating
situations that are both commonplace and bizarre, fictitious and
very true.
Often the power of a photograph is derived from an immediate
recognition. I am interested in work that disquietingly challenges
this recognition and disassembles familiar conceptions of reality
and appearance. The idea of suspended belief intrigues me. I am
interested in the perceptual tension between found and artificial
situations.
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Sallie Nichols, Jung and Tarot: An Archetypal Journey, with an
Introduction by Laurens van der Post (York Beach, Maine: Samuel
Weiser, 1980), p.
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DISPLACED VIGNETTES: COLOR PHOTOGRAPHS
The Images
The photographs in the series Displaced Vignettes function as
contained and separate symbolic narratives. However, when seen
as a group they are related in specific ways. The content of each
image can be modified and extended by its relationship to the series.
There is an evolution and clarification of symbols occurring within
the group.
The following page illustrates some of the connections between the
images. The photographs deal broadly with three areas: a relation
ship, a personal environment and introspection.
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Introduction
Displaced Vignettes/Memory Trace was a multi-media installation
that was part of my thesis exhibition. It was exhibited at the
Visual Studies Workshop from November 5-16, 1984-. The piece
incorporated sculptural forms, video, light and sound. The instal
lation dealt with the non-linear qualities of memory addressing
the way in which personal memory is recalled. Conceptually it
was related to the ideas I was working with in the "raspberry turret" photograph from the Displaced Vignettes series. The installation
evolved from this image as an extension of its fabrication and
symbolism.
Background-Investigations
Since my earliest explorations in visual media my approach could be
considered combinational. Installation work is another step towards
refining this approach. I do not see this as a rejection of a
particular medium's inherent characteristics but as a natural
extension of drawing personal conclusions about how different visual systems can function in my work.
My specific interest in combining media was to integrate my diverse
sculptural concerns with my photographic work. My sculptural work
from the mid 1970's was primarily concerned with formal explorations
of space, time and movement in an environmental context as well as
the figurative form.
These early investigations were wood frame constructions based on
the triangle. They were intended to be seen outdoors to work with
the environment as a blend of landscape and architecture. I also
completed a series of large scale site specific geometric forms
built for temporary installation. Two pieces, Wind Time/Platform
and Shadow Curtain were designed to utilize the wind and the trees
on the site. The pieces created a situation for the viewer to
experience particular qualities of the site, the wind, light and
shadow.
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In addition to the windpieces I pursued figurative work creating
two distinct directions of sculptural interest. I was involved
with the study and construction of marionettes. I began to
experiment with different ways of making moveable figures. The
two marionettes below are examples of this figurative work.
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The installation Displaced Vignettes/Memory Trace integrated these
diverse sculptural concerns. The piece was an environment affected
primarily by colored light emphasizing the physical and emotional
qualities of the space. The content of the piece was implied
through the sculptural forms existing in the space. The figures
represented humans who are consciously remembering. The frames and
mirrors represented vehicles for their perception.
The primary concern in designing the installation was how the
exhibition space would function and how the viewer would interact
with the space. The room needed to be considered as a whole and
unified environment with the sculptural forms an integrated part
of the space. I wanted all the elements in the installation to be
perceived as highly deliberate creating the effect of a refined
space. The work required total physical and psychological involve
ment.
In addition to the physical fabrication, the working process
involved contacting people in various professional fields. I
established a network of experts whose invaluable assistance created
a connection and appreciation for the Rochester community and its
resources. I worked very closely with a woodworker, a paint
specialist and an automotive painter. Through the interaction with
these people I felt a level of understanding and sharing. I consider
these activities as research and part of a series of investigations
that necessitate stepping out of the traditional art environment.
The following drawings are from my sketchbook. They illus
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While in graduate school I was exposed to some very strong video
3
installation work. This confirmed my desire to familiarize
myself with the technology and hardware of video. I took a class
at the Visual Studies Workshop with Pat Byrne with the intention
of producing a videotape together as a collaborative effort.
Pat Byrne is an installation artist who uses projected imagery on
translucent scrims to layer and transform space. For the last
three years we have worked on projects together in the Rochester
area. We found that our working patterns were compatible and that
we shared an interest in the possibility of using video as part of
installation work.
We shot and logged about eight hours of footage before editing the
material. We developed a storyboard and experimented with various
image combinations before the content of the tape began to take
shape. It became clear that there were connections between the
videotape, my photographs, sculpture and ideas for the installation,
Because my-working ideas were developing simultaneously the form
^Notably the exhibition; Video Installation 1983 at the Visual
Studies Workshop, Rochester, N.Y. November 5-December 2, I983.
Pat Byrne received her M.F.A. from SUNY/Buffalo at the Visual
Studies Workshop, Rochester, N.Y., 1983- Her thesis exhibition
Transition was exhibited at the Visual Studies Workshop in November
1982. Her book Traces documents her work and is part of the graduate
collection at the Research Center, Visual Studies Workshop,
Rochester, N.Y.
and the content of each medium was integrated. We decided to
continue development of the videotape to be an integral part of
the installation. The content of the tape took three distinct
forms, literal, formal and metaphoric. The connections to the
installation had to operate on these three levels. As a result
the conceptual and emotional basis for the installation as a whole
was continually examined and clarified.
The tape began to evolve as a visualized memory of the sculptural
figures in the space. The imagery in the tape utilized similiar
forms and lighting conditions that would be part of the installation,
The symbolic elements in the installation were repeated and further
contextualized in the videotape.
I designed a red triangle hinged at the center to hold the monitor.
I wanted to conceal the "television box" so that the video imagery
would appear to be generating from the triangle. The triangle is
a shape that I have often used. In the installation it represented
the "primary site", the source of a collective memory for the
figurative participants in the space.
We titled the videotape Memory Trace . The finished tape was
approximately seven minutes in length and played continually in
the space.
Throughout this videotape project the collaborative aspect was a
very significant and rewarding experience. The working process
was an active one characterized by a free exchange of ideas and
feelings. I feel that collaboration is an interesting and ener
getic alternative to the working individual artist. The process
has enriched my work and the art making experience. This way of
working interests me for future projects producing the context
for larger artistic statements. I have a great deal of respect
and admiration for Pat Byrne and consider myself very fortunate
to have collaborated with her. We have plans to continue working
in a collaborative environment with the hope of further expanding
into cross-disciplinary work.
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The audio portion of the videotape provided a framework for the
imagery. The audio element was an important part of the final
presentation. The soundtrack was mixed with the facilities at
the Visual Studies Workshop with assistance from Bob Doyle,
Media Center Coordinator. We used four sources including human
arterial and natural environmental sound, musical chimes and
electronically generated sound.
The diagram below is a portion of the graph we used to mix the
sound. The four sources are color coded indicating their relative
relationship to one another.
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i^r^-riX^-^ttl+M-The Final Presentation
An important aspect of installation work is that it is site specific.
One must consider the dimensions of the space, the electrical system
and the extent to which alterations can be made. Inherent to
installation work is the need to maintain a responsiveness to the
space and flexibility regarding variables as they occur.
Displaced Vignettes/Memory Trace was installed in one of the gal
leries at the Visual Studies Workshop. Glenn Knudson, Gallery
Director at the Workshop was very supportive. His enthusiasm and
cooperation were greatly appreciated. I had help from a core group
of family and friends who were involved with all stages of install
ing the work in the gallery. These people Pat Byrne, Andy Gafarian
and Buck Majors worked collaboratively with me. Without their
support the installation would not have been possible. We worked
under a great deal of tension yet maintained an atmosphere of
warmth, sharing and concern for the project.
We had five days to prepare the gallery and install the piece.
Many things needed to be done . Pat and I prepared the
gallery and
painted the floor prior to working in the space. The monitor needed
to be mounted, the sound system installed, the frames hung, the
mirrors and figures placed and the lighting design determined.
There were major unanticipated problems. The mounting of the
monitor presented the most difficulties. For two days we tried
various solutions to an apparent physical impossibility. My father,
Andy Gafarian, an engineer worked out a design to mount the monitor
under a seemingly suspended 120 pound hinged triangle.
After a majority of the preparation was done the video and audio
systems were installed. We had an unexpected problem with the audio
track. Because of the loud volume necessary for the piece, there
was an unacceptable amount of noise and distoration. It became
necessary to use additional sound filtering components. Mike Morgan,
an audio consultant from Gala Sound in Rochester generously donated
his equipment and time. He was able to achieve clean, undistorted
sound at a high volume.
The final stage of preparing the piece involved the placement of
the sculpture and lights. This step was the most important in
determining the overall effect of the environment and a synthesis
of all the elements.
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DISPLACED VIGNETTES/MEMORY TRACE
Beth Gafarian
ft
Visual StudiesWorkshop
31 Prince Street, Rochester, New York
llery Hours: Monday-Friday, Noon-5pm
November 5-Novt mber 16, 1984
AFTERTHOUGHTS
The thesis presentation represented for me a culmination of an
open-ended and independent investigation. When I came to graduate
school I did not have a predetermined plan or body of work that I
wanted to pursue. But rather came with the notion of following
an intuitive path characterized by experimentation. My goals
were to integrate my concerns with sculpture and photography.
It became clear very early that the installation format was a
way to incorporate the multi-media nature of my work. I feel
that the work represents honest development. I have reached some
personal conclusions about what my work will involve to be authen
tically mine.
ACKNOWLEDGEMENTS
My special appreciation to Pat Byrne, Andy Gafarian and Buck Majors
whose continued caring, understanding and support made this entire
project possible.
I would like to thank my advisors Professors Robert Heinecken,
Bea Nettles and Richard Zakia.
The following people have individually contributed in helping to
make this exhibition possible:
Caralee Aber
Ray Bink
Leif Brush
Tim Callahan
Brook Dobbs
Bob Doyle
Mary Lou Gafarian
Blair Hornbuckle
Glenn Knudson
Faith Ledermann
Nathan Lyons
Mike Morgan
Nancy Norwood
Bill Paris
Dory Thanhauser
Alan Winer
APPENDIX
The following list of businesses and organizations were sources
for supplies, services and consultation.
All listings are located in Rochester, N.Y. unless otherwise noted.
Alan Winer Fine Hardwood Furniture Asymmetrical Press
Auto Finishers Supply Co. Bix Red Q-Quickprint Centers Brighton Lites, Inc.
Cadillac Plastic and Chemical Co. Carolyn Steinkirchner Silkscreen Chase Pitkin Home Center
Color Methods, Inc.
Commercial Art Supply Cook Iron Store Company
Die-Kuts, Inc.
Fabrics and Findings, Inc.
Foxglove Graphics Gala Sound
Hyatt's The Art People
Instructional Media Services, Rochester Institute of Technology
Lakeshore Record Exchange
Large-Kildea Lumber Co.
Light Impressions Corporation
Max T. Doland, Inc.
Mayer Paint and Hardware Maynard's Sound World
Media Center, Visual Studies Workshop Monroe Glass and Mirror
The Paper Shop
Park Ave . Photo Inc.
Pittsford Lumber
Print Shop, Visual Studies Workshop
Record Archive
Rochester Institute of Technology, School of Photographic Arts and
Sciences
Scrantom's Book and Stationary
Snap & Flash
The Sound Chamber
Spoto Camera Repair, Inc. Video Showplace, Inc. Visual Studies Workshop
Woodstock Percussion, Inc., West Hurley, N.Y.
Thesis Proposal
DISPLACED VIGNETTES
BY
Elizabeth Gafarian
Submitted in Partial Fulfillment
of the
Requirements for the Degree
MASTER OF FINE ARTS
MFA PHOTOGRAPHY PROGRAM
SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCES
ROCHESTER INSTITUTE OF TECHNOLOGY
ROCHESTER, NEW YORK
September, 1933
Bea Nettles, Chairperson
Associate Professor, Photography
School of Photographic Arts and Sciences
Richard D. Zakia
Professor, Photography
School of Photographic Arts and Sciences
Robert Heinecken
Professor of Art
PURPOSE
Through a combined media strategy I intend to
clarify aspects of interpersonal relationships and to
investigate emotional states in terms of context and
content. I intend to juxtapose a sense of theatre with
a sense of reality that is neither fantasy nor
documentation.
BACKGROUND
The basis for my investigations are strongly
emotional and reflect my interests in the visual arts,
fiction and psychotherapy. My previous work dealt with
the physical affects of emotion, seeking isolated
climaxed and exaggerated moments. Often the images were
of fabricated arrangements utilizing lighting, costume
and staging to intensify a particular state. Others
were collages that reduced specific information to
emphasize gesture.
I began to feel that my approach was working
contradictory to my intentions. The work began to limit
psychological states rather than to imply complexity,
becoming too heavy-handed and didactic. A new series
of large format color photographs began which
contextualized emotional states, dealing more with the
implication of action and motivation rather than as
isolated events.
selective quality of the single image. It began to limit
the interpretative possibilities of the subject, making
the fabrication of the subject more significant than the
resulting images. This led to investigations in
non-silver photography, applied arts, visual books and
sculpture, in an attempt to expand the viewing experience,
to involve tactile, spatial and kinesthetic senses. I
began a series of arrangements intended to be directly
interactive with the space, utilizing theatrical concepts
and human proportion as a guage for scale.
PROCEDURE
The thesis work involves a clarifying of concerns
and a broadening of approach toward these concerns.
To clarify concerns I will continue to engage in
critical exercises with my work, seeking responses
especially from board members. The study of history and
criticism will be instrumental in forming a context for
my work, as well as related areas such as theatre and
literature. The straight photographic work encourages
clarification. I will continue to explore large format
color still lifes and to test and refine printing and
presentation methods.
The arrangement projects expand my approach,
emphasizing viewer interaction. The investigations
for
this work are primarily spatial and sculptural involving
possible component parts.
PRESENTATION
The proposed date for the thesis presentation is
BIBLIOGRAPHY
Artaud, Antonin. The Theatre and it's Double. New York:
Grove Press, 1958.
Campbell, Joseph. The Portable Jung. New York: The Viking
Press, Inc., 1971.
Carver, Raymond. What We Talk About When /e Talk about Love.
New York: Alfred A. Knopf, Inc., I98I.
Francis, Mark. Frida Kahlo and Tina Modotti. Great Britain:
Whitechapel Art Gallery, Lund Humphries, 1982.
Heinecken, Robert. He:/She : . Chicago: A Chicago Book, I98O.
Hesse, Hermann. Magister Ludi. New York: Holt, Reinhart and
Winston, Inc., 1969.
Langer, Susanne K. Problems of Art. New York: Charles Scribner's
Sons,
1957-Laughlin, Clarence John. Clarence John Laughlin: The Personal Eye
New York: Aperture, Inc., 1973.
Lippard, Lucy R. Overlay; Contemporary Art and the Art of
PreHistory. New York: Pantheon Books, I983.
Maslow, Abraham H. Motivation and Personality. New York: Harper
and Row, Publishers, Inc., 1970.
Rathbone, Belinda. "Barbara Kasten: Picture Apparatus",
Polaroid Close Up (Volume 14 Number 1, April 1983). pp. 18-23.
Sobieszek, Robert A. Robert Fichter: Photography and other
Questions. Albuquerque, New Mexico: University of New Mexico
Press,
1979-Beth Gafarian Beth Gafarian
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SOURCES AND BIBLIOGRAPHIC REFERENCES
Books-Catalogs
Bindman, David. William Blake: His Art and Times. Yale Center
for British Art and Art Gallery of Ontario. London: Thames and
Hudson, 1982.
Campbell, Joseph., ed. The Portable Jung. Translated by R.F.C.
Hull. New York: Viking Press, 1971.
Carver, Raymond. Cathedral. New York: Alfred A. Knopf, 1983.
Carver, Raymond. What We Talk About When We Talk About Love.
New York: Alfred A. Knopf, I98I.
Chipp, Herschel B. Theories of Modern Art: A Source Book by
Artists and Critics. Contributions by Peter Selz and Joshua C.
Taylor. Berkeley: University of California Press, I968.
Fisher Gallery, University of Southern California. ABHASA: Image
-Bearing Light. Los Angeles: Los Angeles Institute of Contemporary
Art, 1983.
Green, Jonathan. American Photography: A Critical History 1945
to the Present. New York: Harry N. Abrams, 1984.
Kaplan, Julius. Gustav Moreau. Los Angeles: Los Angeles County
Museum of Art, 1974.
Laughlin, Clarence John. Clarence John Laughlin: The Personal
Eye. New York: Aperture,
1973-Lippard, Lucy R. Overlay: Contemporary Art and the Art of Prehistory,
New York: Pantheon Books, I983.
Los Angeles County Museum of Art. A Report on the Art and Technology
Program of the Los Angeles County Museum of Art. Curate d by Maurice
Tuchman. Los Angeles: Los Angeles County Museum of Art, 1971.
Lucie-Smith, Edward. Symbolist Art. London: Thames and Hudson,
1972.
Maslow. Abraham H. Motivation and Personality. 2nd ed. New York:
Harper & Row, Publishers, 1970.
Meatyard, Ralph Eugene. The Family Album of Lucybelle Carter.
Millerton, N.Y. : The Jargon Society, 1974.
Nichols, Sallie. Jung and Tarot: An Archetypal Journey.
York Beach, Maine: Samuel Weiser, I98O.
Smith, Keith A. Structure of the Visual Book. Rochester, N.Y. :
Visual Studies Workshop Press, 1984.
Van der Marck, Jan. George Segal. New York: Harry N. Abrams,
1979.
Journals-Periodicals
Failing, Patricia. "James Turrell's New Light on the Universe."
Art News, April 1985, pp. 70-78.
Fisher, Hal. "California Photography: The Tradition Beyond
Modernism."
Studio International, Volume 195, 1982, pp. 6-9.
Heinecken, Robert. "Untitled Article."
In Teaching Photography,
pp. 40-42. Edited by Thomas Neff and Tony Frederick. Denver:
Society for Photographic Education and the University of Colorado
at Denver, I98I.
Livingston, Jane. "William Christenberry Photographs from the
Klan Room."
Polaroid Close-Up, Winter I983, pp. 25-33.
Ratcliff, Carter. "Tableau Photography: From Mayall to Rodan
Its Roots and Reason." Picture, September 1981, pp.
4-47-Rathbone, Belinda. "Barbara Kasten: Picture Apparatus." Polaroid
Close-Up, April 1983, pp. 18-23.
Rice, Shelly. "Video Installation I983: November 5-December 2.
"
Afterimage , December 1983. Supplement pp. 1-2.
Van der Marck, Jan. "The Valley Curtain." Art in America, May-June
1972, pp. 54-67.
Exhibitions
Hap Tivey: Fourth Situation. Curated by Melinda Wortz. University
of California, Irvine, April 2-May 8, 1976.
Robert W. Fichter: Photography and Other Questions. Curated by
Kooert A. Sobieszek. International Museum
of Photography at
George Eastman House, Rochester, N.Y., December 10, 1982-February
27, 1983.
Perfect Lives (Private Parts). Television Production
by Robert
Ashley, Media Study, Buffalo, N.Y.
, October 1984.
Video Installation 198?. Juried by Hollis Frampton, John Handhart
and Antonio Muntadas. Visual Studies
Workshop, Rochester, N.Y. ,
November 5-December 2, 1983.
William Christenberry: Southern Views. Sculpture and Photographs,
Rice Museum, Houston, Tx., September 24-December 31
, 1982.
Miscellaneous
Grimaud Cartomancie. Tarot of Marsailles. France: J.M. Simon,
1977.
' '
Media Study, Buffalo, N.Y. "Electronic Narrative Symposium," December 8-9, 1984.
Visual Studies Workshop, Rochester, N.Y. Research Center. Graduate Collection. Pat Byrne, Traces, 1982.
Visual Studies Workshop, Rochester, N.Y. Research Center.
Information Files. R.F. Heinecken, "Manipulative Photography," GEH Advanced Studies Workshop, August 21, I967.
