Haloid Camera xerography

Rochester Institute of Technology

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Theses

Thesis/Dissertation Collections

5-1-1982

Haloid Camera xerography

Ronald Ruhl Talbott

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Recommended Citation

Take my hand

Life is what happens to you

While you're busy 1

Making other plans

--John Lermon

A Thesis Report

for the Master of Fine Arts Degree in Photography

Rochester Institute of Technology

School of Photographic Arts

& Sciences

Ronald Ruhl Talbott

May, 1982

Frederick Hartt (co-chairman) SEE ADJOINING PAGE

Eugene David Markowski (co-chairman) SEE AtJOINING PAGa,

Charles A. Arnold, Jr.

Charles A. Arnold Jr.

6/'1

/f.2-,

I

DEDICATION

I

wish

to

thank George

Carr

and

Xerox

Cor

poration

for

their October

2,

1981

grant

of

xerographic

equipment

and

future

support.

I

also

want

to

gratefully

acknowledge

Andrew

Davidhazy

of

Rochester

Institute

of

Technology

for his

generous

loan

of

equipment.

This

thesis

is

dedicated

to

board

members

and

dear

friends

Charlie

Arnold,

Fred

Hartt,

Russell

Kraus,

Gene Markowski

;

and

advisors

Jerry

Uelsmann

and

David

Vestal.

Such

are

the

moments

of

our

great

est

happiness.

Such

are

the

moments

of

our

greatest

wisdom.

If

one

could

but

recall

his

vision

by

some

sort

of

sign.

It

was

in this hope

that

the

arts

were

invented.

Sign-posts

on

the

way to

what

may be.

Sign-posts

toward

greater

knowledge.

2

--Robert

Henri,

The

Art

Spirit

CONTENTS

DEDICATION

ii

PREFACE

iii

THESIS

BOARD

1

THESIS

ADVISORS

2

PURPOSE

3

PROCEDURES

AND

IMPLEMENTATION

k

HISTORICAL PERSPECTIVE

5

WHY

I

WORK THE

WAY

I

DO

7

AESTHETIC

JUSTIFICATION

10

CRITICAL ANALYSES

13

CONCLUDING

OBSERVATIONS

21

AFTERWARD

22

AFTERNOTES

23

SOURCES

CONSULTED

25

THESIS

BOARD

Frederick Hartt

is

Paul

Goodloe Mclntire

Professor

of

the

History

of

Art, University

of

Virginia.

His

forthcoming

Art

and

Music

(provisional title)

includes

photography.

(co-chairman)

Eugene

D.

Markowski

is

Associate Professor

of

Art, University

of

Virginia.

He

is

currently

writing

a

major

book

for Prentice-Hall

on

the

aesthetics

of

photography

and

interrelation

to

other

art

media.

(co-chairman)

Charles

A.

Arnold,

Jr-

is

Professor

and

Staff

Chairman,

Photographic

Illustration,

Rochester Insti

tute

of

Technology.

He

is

a

pioneer

in

the

exploration

of

xerography

as

a

medium

of

artistic

expression.

Russell

Kraus

is

Director,

School

of

Photographic

Arts

&

Sciences,

Rochester

Institute

of

Technology.

His

background

includes

administration,

visual

and

Jerry

N.

Uelsmann

is

Graduate

Research

Professor,

University

of

Florida.

His

latest

book

is Jerry

N.

PURPOSE

The purpose of the thesis is the investigation

of Haloid Xerography as a vehicle of energetic, though

not self-conscious expression.

perspective

historically

in

content

and

process.

2.

An

informal

seminar

discussion

of

the

thesis.

3-

Submission

of

a

personally

meaningful

and

externally

HISTORICAL PERSPECTIVE

In

1938

a

brilliant

and

persistent

patent

attorney

named

Chester F.

Carlson

successfully

made

the

first

xerographic

image.

Frustrated

at

the

difficulty

of

making

multiple

copies

in

an

office

environment,

Carlson

employed

the

basic

principles

of

static

electricity that

ushered

in

a

world-wide

copier

industry.

A

small

photo

paper

manufacturer

in

Rochester,

New York

eventually

saw

the

potential

in Carlson's

discovery,

invested

their

assets

in

xerography,

and

grew

from

the

infant

Haloid

Company

to

the

monumental

Xerox

Corporation known today.

By

1959

copies

were

available

at

the

simple

touch

of

a

button,

and

the

sixties

saw

the

prolifer

ation

of

types

of

copiers

and

numbers

of

suppliers.

Several

color

copiers

even

reached

the

marketplace.

Predictably,

artists

began

to

discover

this

most

democratic

new

medium,

often

unaware

of

what

others

were

exploring

around

them.

The

Spring

quarter

of

1979

was

particularly

frustrating

for

me

in

light

of

my

inability

to

find

to

engage

a

compelling

technique.

It

was

at

this

time

in

a

core

workshop

of

Charles

A.

Arnold,

Jr.

that

I

first

experimented

with

Haloid Xerography.

There

certainly

are

a

number

of

kinds

of

art

based

loosely

on

the

office

copier-

Most

of

these

machines

require

the

subject

to

be

compressed

in

two

dimensions

on

the

platen.

The

Haloid

Model

k

View Camera

was

an

early

commercially-available

imaging

system

for

xerography.

It

became

obsolete

and

was

con

signed

almost

immediately

to

the

back

rooms

and

dirty

basements

of

business

establishments

and

small

printing

companies.

I

have

always

had

little

patience

with

alter

native

photographic

processes

as

technique

alone.

The

most

important

aspect

for

me

with

Haloid

is

that

I

recognized

that my

content

was

enhanced,

enlarged,

and

energized.

Man

Ray

said

that

there

are

always

those

who

look

at

process

and

ask

how

it

is

done,

while

others

ask

why.

"Personally

I

have

always

preferred

WHY

I

WORK

THE

WAY

I

DO

The

beauty

of

this

unique

xerographic

camera

is

that

you

can

work

with

more

refined

and

delicate

textural

and

tonal

possibilities}

you

can

enlarge

or

reduce;

and

very

importantly,

the

Model

h

may be

used

as

any

view-type

camera

to

photograph

in

three-dimen

sional

real

space.

Here

are

other

reasons

I

think

appropriate

in

consideration

of

why I

work

the

way

I

do:

1

.

The

way

some

artists

work

with

this

process

enables

them

considerable

control.

Each

of

their

images

will

be

slightly

different,

but

substantially

similar.

The

way I

work

encourages

and

employs

spontaneity.

Though I

exercise

control

as

needed,

some

of

the

best

work

utilizes

the

remarkable,

unpredictable,

temper

amental

qualities

of

this

medium.

Many

images

are

one

of

a

kind.

I

like

this

odd

relationship

between

control

and

spontaneity,

the

Mondrian

balance

of

discipline

and

freedom.

I

see

elements

of

intense

control,

as

well

as

automatism,

as

in

the

spontan

exposures

are

long.

Many

artists

confine

themselves

to

real

space,

physically

bringing

their

subject

before

the

camera

in

the

studio.

This

approach

can

limit

the

options,

I

think,

so

I

choose

to

generation

from

silver

prints,

drawings,

other

types

of

xero

graphic

material,

and

collage

arrangements.

Some

times

I

work

directly

in

real

space

as

well.

3.

I

can

layer

image

on

top

of

image

on

top

of

image.

k.

I

can

take

the

xerograph

any

number

of

generations

from

the

original

source,

controlling

detail,

contrast,

density,

tonality,

and

perceived

content.

5.

I

like

the

immediacy

of

the

process.

It may take

me

a

few

minutes

to

achieve

an

image

that

pleases

me;

more

often

it

is

a

few

days

or

weeks.

But

I

still

have

feedback

in

minutes

on

everything

I

try.

During

the

months

preceding

the

thesis

exhibition,

I

worked

every

day

making

xerographs

and

generally

stayed

up

working

all

night

long

every

other

night.

6.

At

the

time

the

image

is

transferred

from

the

plate

to

the

paper

or

other

receiving

medium,

the

toner has

not

been

fused

in

place.

It

can

therefore

be manip

ulated

in

a

variety

of

ways

by

the

artist's

hand

before

it

is

made

permanent.

It

can

be

blown,

brushed

about,

drawn upon,

etc.

7.

I

like

the

textural quality

of

the

toner

on

and

in

the

paper-

It

is

possible

to

control

to

some

extent

the

depth

to

which

the

toner

fuses

with

the

re

ceiving

medium.

8.

The

process

is

apparently

archival.

It

will

last

as

long

as

the

receiving

material

or

medium

%&

which

it

is

transferred.

9.

I

can

select

any

type

of

receiving medium,

thus

providing

color

and

textural

choices.

Some

images

in my

wallet

for

years.

It

said

something to

the

effect

that

work

should

catch

you

up

like

an

interesting

game.

If

it

isn't

fun,

don't

do

it.

Clearly

artistic

growth

involves

the

same

dedication,

even

mania,

as

any

profession.

Picasso

created

in

a

five

year

period

five

thousand

spectacular

graphic

pieces,

completed

at

the

age

of

eighty two.

Yes,

suddenly

for

me,

it

was

as

for

the

seven

year

old

Jacque Henri

Lartigue,

writing

in his

diary

after

his

father had

given

him his

first

camera:

"Photography

is

a

magic

thing!"

And

I

was

absorbed.

It

was

learning

the

art

of

unlearning.

Frederick

Hartt

characterized

my

work

as

a

psychological

well.

The

deeper

and

more

spontane

ously

rII seem

to

dip,

the

stronger

the

resulting

imagery.

Edward

Weston,

writing

in

his

Mexico

Daybooks

said

that

"love

like

art

returns

in

measure

the

emotion

it

7

one

carries

to

it;

one

finds

what

one

seeks."'

11

Yet

even

so

Weston

cut

from

his

Daybooks

almost

all

references

to

intense

personal

agonies

suffered.

His

passion

consumed

in

him

what

was

unnecessary,

so

he

might

"present

his

feeling

for

life.

. .without

Q

subterfuge

or

evasion

in

spirit

or

technique."

And

like

Weston,

I

strive

not

to

meet

this

particular

test

of

Emerson:

"What

you

are

speaks

so

loudly,

I

can't

Q

hear

what

you

say-"7

The

challenge

is

to

portray

experience,

but

without

self-conscious

expression.

David

Vestal:

Expression

is

the

point.

The

Expression Equation.

There's

this

to

say

about

expression:

We

are

all

alike,

so

we

can

understand

each

other-

The

sameness

makes

communication

possible,

and

the

difference

makes

it

worthwhile.

10

'

Man

Ray

wrote

in The Age

of

Light

(193*0

that

he

presents

autobiographical

imagery

as

experience,

not

experiment.

Using

chemicals

and

light,

no

plastic

expression

can

be

more

than

a

re/sidue,

even

though

seized

at

moments

of

emotional

contact.

A

simple

identifi

cation

on

the

part

of

the

viewer

and

related

to

his

unique

experience

precludes

arbitrary

classification.

Efforts

born

of

desire

must

have

subconscious

energy

to

have

contempt

for

process

and

liberated

to

automatism

to

maximize

intensity

of

message.

"Open

expressions

are

made

daily,

and

it

remains

for

the

eye

to

train

11

itself to

see

without

prejudice

or

restraint."

Authentic

personal

discovery

is

goal

and

objective

of

Zen.

Expression

is

an

artist's

internal

search,

its

significance

related

to

the

individual

viewer.

Stiglitz

and

White

knew

photographs

can

have

multiple

meanings.

John

Szarkowski

thinks

most

artists,

like

Jerry

Uelsmann

(and

myself)

,

believe

that

symbolic

meanings

will

manifest

with

or

without

the

12

artist's

personal

concern.

Probably

only

the

in

expressible

in

life

is

worth

expressing.

Words

are

13

CRITICAL

ANALYSES

The

reviews

that

follow

yield

more

insight

than I

could

hope

to

provide

myself

into

the

process

and

content

of

the

thesis

material.

James

S.

LaVi 11a

-Have

lin

is

a

poet,

critic,

and

museum

educator:

In

Ron Talbott's

work

ambiguous

spaces,

calligraphic

images,

gestures

as

fleeting

and

as

sure

as

frames

in

a

film,

characters,

and

moments

crowd

and

crow,

send

mixed

messages,

energize

his

surfaces,

provide

alternate

readings,

tell

private

stories.

Talbott's

range

of

imagery

and

approach

is

impressive,

and

the

relationship

between

the

technique

and

the

meaning

-never

merely

showy

-

is

organic,

intimate.

Talbott's

theatre

is

without

theatricality

which

calls

attention

to

itself,

without

forgetting

its

paper

and

surface

and

scratch

two

-dimensionality.

And

as

line

becomes

letter

becomes

horizon

becomes

line

once

again,

Talbott

approaches

the

borders

between

presence

and

ethereality,

a

frontier

which

Man

Ray

and

Calder

and

D.

H.

Lawrence

lived

on.

His

work

speaks

its

process,

its

becoming,

its

directions

and

conversations.

1**-Eugene

D.

Markowski

is

the

author

of

the

January,

1983

Prentice-Hall

book,

Photography

and

Photographs

(provisional

title)

.

This

draft

is

extracted

from

the

chapter,

Photography:

The

Future

(provisional title)

:

Ron Talbott

who

has

made

exclusive

use

of

the

Haloid

process

over

a

number

of

years,

has

pro

duced

a

great

variety

of

images

from

silver

prints,

his

own

drawings,

and

other

Xerographs,

each

displaying

the

immediacy

of

the

medium,

and

the

spontaneous

poetry

of

the

artist.

His

striking

blend

of

control

and

automatism

within

the

process

reveals

a

personality

imposing

its

will

so

that

process

and

artist

fuse,

an

event

of

one

thing

making

itself

parallel

to

the

other,

of

symmet

rical

co-existence.

His Xerographic

prints,

Self Portrait

1979

and

Nancy 1979

are

derived

from

silver

prints

photographed

with

the Haloid

Camera.

Toner

for the

Self Portrait

was

transferred

with

a

negative

electrostatic

charge

which

reversed

the

shadows,

and

highlights,

and

produced

a

soft

flow

of

grey

tones

which

form

the

head.

Nancy

was

photo

graphed

at

a

slow

shutter

speed

resulting

in

a

blurred

image,

and

a

severely

scratched

Xerographic

plate

was

intentionally

used

to

inhance

the

sense

of

movement.

The

velvety quality

of

the

rich

black

and

tranquil

grey

printed

on

slightly

textured

paper

gives

a

feeling

of

fresh

immediacy,

as

though

the

photographer

had

produced

the

images

before

our

eyes

with

soft

vine

charcoal.

Talbott's

images

depict

human

qualities

perceived

by

exper

ience,

where

individual

characteristics

are

inte

grated

and

transformed

into

the

intended image.

The

photographer's

intuition,

perceptions

and

thought

brings

together

a

spatial

structure

from

a

non-linear

succession

of

form-relationships

and

ideas.

These

ideas

are

not

isolated

by

their

free

distribution

in

space,

but

interact

sym

metrically

in

sequence

within

a

intentionally

contemplative

image.

His

images

cut

one-dimen

sional

paths

through

our

minds

intellectually,

but

transform

themselves

into

the

fourth

dimension

by

our

subconscious

cognition,

where

reality

and

fantasy

co-exist

hidden

from

outer

reality.

The

sequence

of

concepts

intuitively

grasped,

and

intellectually

arranged

within

the

fervently

controlled

medium

indicates

a

different

sort

of

15

between

the

observed

and

the

observer,

recognized

from

image

to

image,

and

in

each

image.

Perhaps

Talbott's

images

have

effectively

incorporated

actions

in

time,

successions

in

time,

where

the

mind

integrates

the

pieces

presented,

and

recon

structs

internal images

partly

made

up

of

Talbott's

poetry,

and

partly the

perceiver's.

These

images

are

not

literary fact,

but

they

do

suggest

a

nexus

between

word

and

image

made

possible

through

asso

ciated

experience.

Self Portrait

and

Nancy

are

seam

less

images,

isomorphic

in

technical

form,

where

non-isomorphic

unconventional

content

is

presented

through

conventional

forms

which

are

executed

by

unusual

technical

means.

The

technical

means

become

the

crucible

for his:

ideas

and

thoughts

which

are

hung

with

previous

associations

beyond

that

which

is

seen

in

the

images.

The

images

have

a

potential

held

within

their

two

dimensionality

for interaction

with

the

observer

that may

reach

into

other

dimensions

through

associative

experience.

But

that

potential

cannot

be

realized

unless

each

element

within

the

image

is

visually

and

intellec

tually

revised

by

the

next,

which

can

bring

the

observer

closer

to

the

photographer's

meaning.

Through

a

revisionist

compilation,

one

may

reach

beyond

the

superficial,

so

that

the

image may

be

conceived

as

a

totality.

The

intended

meaning,

and

the

totality

of

the

image

merge,

to

animate

observer-participation

beyond

formality.

These

images

do

not

rest

on

academic

formalities,

but

instead

are

the

wholeness

of

experience

where

creativity,

imagination,

personal

transformation,

subtle

sensibilities,

and

the

most

basic

patterns

of

reality

common

to

humankind

merge

to

form

individualistic

expression.

Held

within

these

images,

indeed

all

of

_

the

photographer's

work

is

a

consideration

of

time,

a

vision

of

evolution,

in

which

everything

is

changing.

Coupled

with

this,

we

find

in

these

fluid

structures

a

constant

time

transformation

effecting

the

paradigms

of

consciousness

we

take

from

past

to

present

is

a

shift

into

a

process-oriented

consciousness,

which

is

based

on

abstract

disciplines.

Yet

there

is

an

uneasy

struggle

for

artistic

individual

free

dom

and

the

ever-present

social

operatives

seen

through

^

the

higher

goals

floating

on

abstract

disciplines

.that

bring

these

images

into

human

istic

sensibilities.

The

occurance

of

events

in time

are

gathered

into

a

single

perception,

reflected

in

what

appears

to

be

a

reflexive

universe

of

thought.

For

Talbott,

the

basic

measure

of

time

is

experience,

strongly

stated

in

each

image,

but

this

measure

principle

takes

overlapping

experiences

on

a

level

of

organic

measure

rather

than

mathmatical,

in

which

the

ge

ometry

of

meaning

is

revealed.

As

a

natural

expression

of

activity

and

ex

perience,

measuring

time,

these

images

are

sym

bols

which

may

be

read

in

dynamic

stages,

each

stage

providing,

and

confering

upon

the

whole

the

color

ation

of

transformation.

It

is

as

if

cycles\and

transitions

are

condensed,

telescoped

into

an

instant

in

which

we

recognize

all

of

existence.

Beginning,

middle,

and

ending

are

all

as

one,

there

is

no

chronological

unfolding,

there

is

an

explicity

implicit

in

each

image

where

we

find

our

own

internal

organic

connections

united

with

a

lucid

external

environment

of

geometrical

order

-As

notations

in;time,

Talbott's

images

speak

of

internal

notations

as

well,

notations

that

over-ride

the

specifics

of

limited time

as

we

know

and

experience

it.

These

personal

internal

notations

made

physically

visible

by

the

specific

technical

process,

allows

for

observer

interaction,

yielding

a

cognition

of

personal

life

experience.

Synthesizing

reaction

and

action,

into

a

single

image,

we

may

follow Talbott's

technical

impro

visations

as

they

form

deeply

felt

and

carefully

executed

sensibilities

as

a

human,

as

an

artist.

In

subtle

ways

his

conscious

and

unconscious

reveal

deep

levels

of

human

experience

willingly

shared

through

his

photographs.

For

those

of

us

willing

to

take

the

time

to

look

into

these

images,

will

find

an

ensemble

of

characteristics

common

to

all

humanity.

Characteristics

when

recognized,

enriching

life

through

all

time

SELF

PORTRAIT

1979

,

JM0/-1

NANCY

1979

P

O

m

H-H"

H

CD

O

K>

O

3

P

W

P

H

o

H'

P-X

CD

O

cm

4

P

CONCLUDING

OBSERVATIONS

The

thesis

experience:

1.

provided

months

of

intense,

all-consuming involve

ment

at

a

time

when

my life

needed

just

such

a

prescription.

This

was

not

art

as

therapy,

but

not

unrelated

either-2.

renewed

and

strengthened

aesthetic

self-confidence.

Indeed,

reinforced

my belief

in

the

incomprehen

sible

depth

of

human

abilities

of

expression.

3

reinforced

that

a

person

and

his

art

are

a

sum

total

of

all

experiences.

Beyond

that,

the

artist

is

the

totality

of

all

missed

opportunities

and

is

therefore

a

composite

of

these

as

well.

4.

encourages

me

to

continue

explorations

of

photography's

interrelationship

with

other

art

media.

5

makes

me

humbly

aware

of

just how

much

more

and

better I

might

learn to

express

the

inexpressible.

6.

will

constantly

remind

me

that

only

by doing

something

does it

get

done,

and

that

thoughts

and

ideas

how

ever

great

must

have

counterparts

in

action.

They

neither

paint

nor

dance,

Their

medium

is

Being.

Whatever

their hand

touches

has

increased

Life.

They

SEE

and

don't

have

to

draw.

They

are

the

artists

of

being

alive.

16

--Frederick

Franck

AFTERNOTES

1

John

Lennon,

"Beautiful

Boy

(Darling

Boy),"

Double

Fantasy.

1980,

album

slipcase.

2

Robert

Henri,

The

Art

Spirit

(Philadelphia

and

New York:

J.

B.

Lippincott

Company,

I960),

p.

13.

3

'Man

Ray,

"Man

Ray,"

Modern

Photography.

November,

1957,

p.

85.

""" "" ~ ~ "

4

Herbert

Read,

A

Concise

History

of

Modern

Painting

(New

York:

Frederick A.

Praeger,

Inc.,

1959),

p.

203.

Donald H.

Karshan,

Picasso

Linocuts

(New

York:

Tudor

Publishing

Company,

1968),

p.

XII.

Jacques Henri

Lartigue,

Diary

of

a

Century

(New

York:

The

Viking

Press,

Inc.,

1970),

p.

1.

7

Edward

Weston,

The

Daybooks.

Vol.

I:

Mexico

(New

York:

Apertute,

Inc.,

1973),

p.

i30.

Ibid,

XIV.

9

Frederick

Franck,

The

Zen

of

Seeing

(New

York:

Random

House,

Inc.,

1973),

P-

87.

1

0

David

Vestal,

The

Craft

of

Photography

(New

York:

Harper

&

Row,

Publishers,

Inc.,

1972),

p.

304.

1

1

Man

Ray,

Man

Ray

Photographs

1920-1934

(Hartford:

James

T.

Soby,

1934),

preface.

12

John

Szarkowski, Looking

At Photographs

(New

York:

The

Museum

of

Modern

Art,

1973),

p.

198.

-'Franck,

Zen,

p.

13.

Review,

Traveling

Photography Exhibition,

Opening

at

Museu

da Imagem

e

do

Som,

June,

1982.

^Eugene

D.

Markowski,

Photography

and

Photo

graphs

(provisional title)

(Englewood

Cliffs,

New

Jersey:

Prentice

-Hall,

January,

1983),

Photography:

SOURCES

CONSULTED

Arnheim,

Rudolf.

Toward

a

Psychology

of

Art.

Berkeley:

University

of

California

Press,

1966.

Coke,

Van

Deren.

The Painter

and

the

Photograph.

Albuquerque

:

University

of

New Mexico

Press,

1964.

Coleman,

A.

D.

Light

Readings.

New

York:

Oxford

University Press,

1979-Franck,

Frederick.

The

Zen

of

Seeing.

New

York:

Vintage

Books,

1973-Gombrich,

E.

H.

Art

and

Illusion.

Princeton:

Princeton

University

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i960.

Henri,

Robert.

The

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Philadelphia

and

New

York:

J.

B.

Lippincott

Company,

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Hill,

Paul,

and

Cooper,

Thomas.

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with

Photography-

New

York:

Farrar/Straus/

Giroux,

1979-Karshan,

Donald H.

Picasso

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1958-1963.

New York:

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Publishing Company,

1968.

Kepes,

Gyorgy.

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of

Vision.

Chicago:

Paul

Theobald

and

Co.,

1944.

Lartigue,

Jacques

Henri.

Diary

of

a

Century.

New York:

The

Viking

Press,

1970-LaVilla

-Ravelin,

James

S.

Unpublished

Review,

Traveling

Photography Exhibition,

Opening

at

Museu

da

Imagem

e

do

Som,

June,

1982.

25

Lennon,

John.

"Beautiful

Boy

(Darling

Boy),"

Double

Fantasy.

1980,

album

slipcase.

Lyons,

Nathan,

ed.

Photographers

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Englewood

Cliffs,

New Jersey:

Prentice-Hall,

1966.

Markowski,

Eugene

D.

Photography

and

Photographs

(provisional title)

.

Englewood

Cliffs,

New Jersey:

Prentice

-Hall,

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January,

1983.

Ortega Y

Gasset,

Jose.

Revolt

of

the

Masses.

New York:

Norton,

1932.

Ray,

Man.

"Man

Ray."

Modern

Photography,

November,

1957,

p.

85.

Ray,

Man.

Man

Ray

Photographs

1920-1934.

Hartford:

James

T.

Soby,

1934.

Read,

Herbert.

A

Concise

History

of

Modern

Painting.

New

York:

Frederick

A.

Praeger,

1959,

Rosenberg,

Harold.

The

De-Definition

of

Art.

New

York:

r

Horizon

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1932.

Scharf,

Aaron.

Art

and

Photography.

Baltimore:

The

Penguin

Press,

19 68.

Sontag,

Susan.

On

Photography.

New

York:

Farrar,

Straus

and

Giroux,

1973-Szarkowski,

John.

Looking At

Photographs.

New

York:

The

Museum

of

Modern

Art,

1973-Tormey,

Alan.

Concept

of

Expression:

A

Study

in

Philosophical

Psychology

&IAesthetics.

New

Jersey:

Princeton

University

Press,

1971-Turabian,

Kate

L.

A

Manual

For

Writers.

Chicago:

1955-27

Uelsmann,

Jerry

N.

Silver Meditations.

Dobbs

Ferry,

New York:

Morgan

&

Morgan,

1975-Vestal,

David.

The

Craft

of

Photography.

New

York:

Harper

&

Row,

1972.

Wartofsky,

Marx W.

Conceptual Foundations

of

Scientific

Thought:

An

Introduction

To

The

Philosophy

of

Science.

New

York:

Macmillan,

1968.

Weston,

Edward.

The

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Mexico.

Millerton,

New York:

Aperture,

196l.

White,

John.

The

Birth

and

Rebirth

of

Pictorial

Space.

Boston:

Boston

Book

and

Art

Shop,

1967.

White,

Minor.

Rites

&

Passages.

Millerton,

New

York:

Aperture,

1978.

Xerox

Corporation.

Standard Xerographic

Master-Making

Equipment

Operating

Instructions.

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