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	<title>Berkshire Review, an International Journal for the Arts &#187; Photography</title>
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	<link>http://berkshirereview.net</link>
	<description>Classical Music, Opera, Theatre, Photography, Art</description>
	<lastBuildDate>Mon, 08 Nov 2010 00:17:17 +0000</lastBuildDate>
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	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
	<itunes:explicit>no</itunes:explicit>
	<itunes:image href="http://www.berkshirereview.net/images/BR7itunes.png" />
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		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
		<itunes:email>editor@berkshirereview.net</itunes:email>
	</itunes:owner>
	<managingEditor>editor@berkshirereview.net (Berkshire Review, an International Journal for the Arts)</managingEditor>
	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
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		<title>Berkshire Review, an International Journal for the Arts &#187; Photography</title>
		<url>http://www.berkshirereview.net/images/BRbloglogo.jpg</url>
		<link>http://berkshirereview.net/category/photography/</link>
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	<itunes:category text="Arts" />
	<itunes:category text="Music" />
	<itunes:category text="Arts">
		<itunes:category text="Performing Arts" />
	</itunes:category>
		<item>
		<title>Vermont Hippies! Photographs by Peter Simon and Rebecca Lepkoff at the Vermont Center for Photography, Brattleboro, VT</title>
		<link>http://berkshirereview.net/2010/06/vermont-hippies-seventies-photo-peter-simon-rebecca-lepkoff/</link>
		<comments>http://berkshirereview.net/2010/06/vermont-hippies-seventies-photo-peter-simon-rebecca-lepkoff/#comments</comments>
		<pubDate>Wed, 23 Jun 2010 01:57:27 +0000</pubDate>
		<dc:creator>The Editor</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[hippy culture]]></category>
		<category><![CDATA[Peter Simon]]></category>
		<category><![CDATA[Rebecca Lepkoff]]></category>
		<category><![CDATA[Vermont]]></category>
		<category><![CDATA[Vermont Center for Photography]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6606</guid>
		<description><![CDATA[Vermont Hippies: Photographs by Peter Simon and Rebecca Lepkoff, an exhibit of some forty photographs of southern Vermont will be on view at the Vermont Center for Photography, 49 Flat Street, Brattleboro, July 2 to August 1. Since the 1930s Vermont has been a magnet for urban émigrés searching for their own Edens. During the 1960s and 70s, veterans of the peace and civil rights movements settled into nontraditional households. Outwardly, they were distinguished from their Vermont neighbors by their progressive views, long hair, and unconventional clothing. The repercussions of this influx of counter-culture is still strongly felt in Vermont today, even thought the photographs make it look like  so long ago. Suzanne Flynt, a VCP Board Member said, "This exhibition will make you smile, or cringe, or even laugh out loud."]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/06/vermont-hippies-seventies-photo-peter-simon-rebecca-lepkoff/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Alias Man Ray: The Art of Reinvention, at the Jewish Museum, New York, November 15, 2009 &#8211; March 14, 2010</title>
		<link>http://berkshirereview.net/2010/05/alias-man-ray-the-art-of-reinvention-jewish-museum-new-york/</link>
		<comments>http://berkshirereview.net/2010/05/alias-man-ray-the-art-of-reinvention-jewish-museum-new-york/#comments</comments>
		<pubDate>Mon, 24 May 2010 04:45:05 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Dada]]></category>
		<category><![CDATA[expatriation]]></category>
		<category><![CDATA[Jewish assimilation]]></category>
		<category><![CDATA[Kiki de Montparnasse]]></category>
		<category><![CDATA[Lee Miller]]></category>
		<category><![CDATA[Man Ray]]></category>
		<category><![CDATA[nude]]></category>
		<category><![CDATA[surrealism]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6381</guid>
		<description><![CDATA[In preparing his probing, focused, and entirely convincing examination of Man Ray, Mason Klein can hardly have been under the illusion that the artist—or his Manes—would thank him for resurrecting his persona along with his art. Indeed, the exhibition presents an irresistible case for the originality and, above all, the enduring power of Man Ray’s art to fascinate. However, in order to find his individuality, the curator found it necessary to dissect Man Ray’s life and character, which was as much a construct as any of his collages or Dada objets. In order to create, Man Ray had to create himself, and at times in his life this self-creation was and end in itself, even his primary expression. His invented self not only gave him a more comfortable face to present to the world, it gave him the freedom to work as an artist, just as he needed Paris as the the stage for his performance as Man Ray. Klein’s examination is anything but non-destructive. Once he has finished lifting the layers off Man Ray’s self-construction, there is nothing left. While I believe there is credit in respecting an artist’s vision of him or herself—good manners are not at all out of place in art history—I believe Man Ray’s unmasking was absolutely necessary in this case, in order for us to understand his art and to appreciate it with new respect, but without mythologies or adulation.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/05/alias-man-ray-the-art-of-reinvention-jewish-museum-new-york/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Irish Travellers, Tinkers No More: Photographs and Traveller, a film by Alen MacWeeney (UPDATED, including audio: Traveller Liam Weldon sings &#8220;The Blue Tar Road&#8221;)</title>
		<link>http://berkshirereview.net/2010/01/irish-travellers-tinkers-macweeney/</link>
		<comments>http://berkshirereview.net/2010/01/irish-travellers-tinkers-macweeney/#comments</comments>
		<pubDate>Sun, 24 Jan 2010 04:00:23 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[Brattleboro]]></category>
		<category><![CDATA[gypsies]]></category>
		<category><![CDATA[Ireland]]></category>
		<category><![CDATA[Vermont Center for Photography]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=2151</guid>
		<description><![CDATA[In his important collection of anthropological photography, Robert Gardner made clear the connection between the ethnographer's record of life in western Papua or Ethiopia and the photojournalist's observation of downtown Barcelona or Dallas. Alen MacWeeney's Irish Travellers, Tinkers No More is one further document in this fluid branch of study. The travellers were and still are a constant presence in Ireland, where MacWeeney was born and raised, although, at least in the 1960's when these photographs were made, a largely unseen one—this is, on purpose. A professional need, it seems, sucked Alen MacWeeney into their society, and he remained, to observe and experience it in depth. Now, after some forty years, this experience has been made public.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/01/irish-travellers-tinkers-macweeney/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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			<itunes:keywords>Brattleboro,gypsies,Ireland,Vermont Center for Photography</itunes:keywords>
		<itunes:subtitle>In his important collection of anthropological photography, Robert Gardner made clear the connection between the ethnographer&#039;s record of life in western Papua or Ethiopia and the photojournalist&#039;s observation of downtown Barcelona or Dallas.</itunes:subtitle>
		<itunes:summary>Traveller Liam Weldon sings &quot;The Blue Tar Road.&quot;
---
(http://berkshirereview.net/wp-content/uploads/2009/06/MacWeeney4.jpg)

Irish Travellers, Tinkers No More
by Alen MacWeeney, Introduction by Bairbre Ni Fhloinn
New England College Press, 2007
(with an exhibition at the Vermont Center for Photography, Brattleboro, Vermont, June-July 2009)

In his important collection of anthropological photography, (http://berkshirereview.net/2009/12/robert-gardner-human-documents-eight-photographers/) Human Documents, Robert Gardner made clear the connection between the ethnographer&#039;s record of life in western Papua or Ethiopia and the photojournalist&#039;s observation of downtown Barcelona or Dallas. Alen MacWeeney&#039;s Irish Travellers, Tinkers No More is one further document in this fluid branch of study. The travellers were and still are a constant presence in Ireland, where MacWeeney was born and raised, although, at least in the 1960&#039;s when these photographs were made, a largely unseen one—this is, on purpose. A professional need, it seems, sucked Alen MacWeeney into their society, and he remained, to observe and experience it in depth. This was not an ordinary professional desideratum, but a thoroughly Irish one. He was working on a photoessay on W. B. Yeats and was looking for a tinker to photograph. Then, on the outskirts of Dublin he found a vast camp. Now, after some forty years what he observed among the travellers has been made public.

Alen McWeeney is unquestionably one of the stars of the contemporary photography world. Since his early job as Richard Avedon&#039;s assistant in New York in the 1960&#039;s, he has published his work in all the magazines where photgraphers most want to be published, and he has developed a technical virtuosity not one bit inferior to his master. He is also incredibly versatile, defying categorization. In portraiture he approaches the wealthy New Yorker and the Irish pig farmer with equal respect, and his subtle, offbeat sensibility finds the intangible, transient quality which makes them fully alive as spiritual presences before the viewer. He turns his lens to objects with fascination and passion, but preferably to objects of some age and curious allure, if not always the classic quality which would bring them into a museum. Yes, some of these things are a bit funky, but they represent in the first place the taste of the people who hire him to photograph their treasures. And MacWeeney never fails to show his fascination with both. He photographs fashion like no one else today, preserving some of the unique qualities of the couture Steichen, Horst, and Avedon had at their disposal, which has all but disappeared today. He also works with landscapes and buildings—in many parts of the world, but most often in his native Ireland. Focus, composition, color balance are always not only technically perfect, but just what the subject—and the client—need.

Before Avedon, however, MacWeeney, beginning at the age of sixteen, was with the Irish Times and then for a couple of years freelancing, doing portraits, fashion, and theater photographs. In 1965 he returned to Ireland to work on a photo essay about W. B. Yeats. In search of a tinker woman as a subject, he found &quot;a sprawling field of caravans, shed, and horses...on the outskirts of Dublin. On one hut he happened on a curious sign of a political nature, which led to the first of several long term acquaintances among the people of the camp, as well as in others. Alen MacWeeney found himself immersed in the life of the people then called tinkers, but now more respectfully known as travellers, for the next five years.



These people lived in the country he had grown up in, but he knew little about them. Like the rest of his fellow Irishmen, he had ignored them, and, for their part, the travellers maintained a culture of secrecy. To MacWeeney they were like the migrant farmers of the American depression: &quot;poor, white, and dispossessed.</itunes:summary>
		<itunes:author>Michael Miller</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:duration>5:40</itunes:duration>
	</item>
		<item>
		<title>György Kepes: a Polaroid and a Reminiscence</title>
		<link>http://berkshirereview.net/2009/12/gyorgy-kepes-polaroid-reminiscence/</link>
		<comments>http://berkshirereview.net/2009/12/gyorgy-kepes-polaroid-reminiscence/#comments</comments>
		<pubDate>Fri, 25 Dec 2009 09:51:24 +0000</pubDate>
		<dc:creator>Richard Harrington</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[György Kepes]]></category>
		<category><![CDATA[Polaroid]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=5225</guid>
		<description><![CDATA[This hypnotic light graphic, which was commissioned by the Polaroid Corporation, was done using a 20" x 24" Land camera.

It illustrates a few intriguing things about color perception in Polaroid technology and Mr. Kepes's unique insight about how to make it effective within his own artistic methods and intentions. If the colors that are being photographed are somewhat achromatic, i.e., neutral, they appear to be more "real", i.e., because the viewer is not searching his color memory to decide whether the colors resemble the vividness of a rose, for example. The gray gridded background, crossword puzzle on paper, ink-on canvas, Braille sample, half-silvered prism, reflections and cast shadows are virtually achromatic, in spite of the fact that this is a color photograph.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2009/12/gyorgy-kepes-polaroid-reminiscence/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Edward Steichen: In High Fashion, the Condé Nast Years, 1923-1937</title>
		<link>http://berkshirereview.net/2009/12/edward-steichen-in-high-fashion-conde-nast/</link>
		<comments>http://berkshirereview.net/2009/12/edward-steichen-in-high-fashion-conde-nast/#comments</comments>
		<pubDate>Thu, 17 Dec 2009 07:20:47 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[celebrity photography]]></category>
		<category><![CDATA[condé-nast]]></category>
		<category><![CDATA[Edward Steichen]]></category>
		<category><![CDATA[fashion photography]]></category>
		<category><![CDATA[Vanity Fair]]></category>
		<category><![CDATA[Vogue]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=5095</guid>
		<description><![CDATA[This important exhibition of Edward Steichen's fashion and celebrity photography for Condé Nast, which will close soon in Toronto and continue on to Fort Lauderdale and Kansas City, emerged from an earlier, ambitious survey of his entire career, Edward Steichen: Lives in Photography, also organized by Foundation for the Exhibition of Photography and the Musée de Élysée. While researching that exhibition, the curators, William Ewing and Todd Brandow, discovered two thousand vintage prints from Steichen's years at Vogue and Vanity Fair in the Condé Nast Archive, where they were catalogued and preserved to museum standards. These had never been exhibited before and presented an opportunity not to be missed.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2009/12/edward-steichen-in-high-fashion-conde-nast/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Robert Gardner, Human Documents: Eight Photographers</title>
		<link>http://berkshirereview.net/2009/12/robert-gardner-human-documents-eight-photographers/</link>
		<comments>http://berkshirereview.net/2009/12/robert-gardner-human-documents-eight-photographers/#comments</comments>
		<pubDate>Tue, 08 Dec 2009 06:29:04 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[Adelaide De Menil]]></category>
		<category><![CDATA[Alex Webb]]></category>
		<category><![CDATA[anthropology]]></category>
		<category><![CDATA[Charles Warren]]></category>
		<category><![CDATA[Christopher James]]></category>
		<category><![CDATA[Eliot Weinberger]]></category>
		<category><![CDATA[ethnography]]></category>
		<category><![CDATA[Jane Tuckerman]]></category>
		<category><![CDATA[Kevin Bubriski]]></category>
		<category><![CDATA[Michael Rockefeller]]></category>
		<category><![CDATA[Robert Gardner]]></category>
		<category><![CDATA[Susan Meiselas]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=4972</guid>
		<description><![CDATA[This handsome, modestly (and conveniently!) book was put together with a light, subtle hand, artists' hands, and the reader will be immediately seduced by the striking photographic work which is its primary raison d'être, but Human Documents: Eight Photographers was founded on a precise argument, which Robert Gardner makes quite clear with his spare, patrician prose in the introductory essay. Eliott Weinberger introduces variations on it (as well as further points of view of his own) in his supplementary essay, "Photography and Anthropology (a Contact Sheet)." The book is intended to bear witness to the connections between photography and anthropology, and both Gardner and Weinberger discuss the historical background to this inevitable, but not always easy relationship.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2009/12/robert-gardner-human-documents-eight-photographers/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Bloomsbury Photographs &amp; Photographic Editions, Tuesday 6th October 2009</title>
		<link>http://berkshirereview.net/2009/10/bloomsbury-photographs-photographic-editions-tuesday-6th-october-2009/</link>
		<comments>http://berkshirereview.net/2009/10/bloomsbury-photographs-photographic-editions-tuesday-6th-october-2009/#comments</comments>
		<pubDate>Fri, 09 Oct 2009 20:27:18 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[Bloomsbury Auctions]]></category>
		<category><![CDATA[Richard Avedon]]></category>
		<category><![CDATA[Weegee]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=4563</guid>
		<description><![CDATA[Can we still call photography a young market in the art world? If we look back to the 17th century sales of paintings, drawings, and antiquities, yes, obviously, but also, there is enough work still on the market that most photography sales can offer a quite comprehensive survey of whatever field they may occupy. In addition, unplanned events, like the offering of entire collections or major parts of collections—hardly an anomaly in these times—can skew the fundamentally random historical balance of the market in fascinating directions. Bloomsbury New York's latest auction presents a wealth of famous images by renowned photographers of the past as well as some less familiar work by those same household names who still dominate the photography market, another sign that it is still in its youth. But in photography as in the venerable market for fine prints—wherever multiples come into play—there are favorite subjects as well as favorite creators.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2009/10/bloomsbury-photographs-photographic-editions-tuesday-6th-october-2009/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Hudson River Valley Photographed, Two Views: Greg Miller and Stan Lichens</title>
		<link>http://berkshirereview.net/2009/05/hudson-river-valley-photographed-greg-miller-stan-lichens/</link>
		<comments>http://berkshirereview.net/2009/05/hudson-river-valley-photographed-greg-miller-stan-lichens/#comments</comments>
		<pubDate>Wed, 27 May 2009 03:00:30 +0000</pubDate>
		<dc:creator>Michael Miller</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[hand-colored print]]></category>
		<category><![CDATA[Henry James]]></category>
		<category><![CDATA[Hudson River School]]></category>
		<category><![CDATA[landscape]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=1675</guid>
		<description><![CDATA[You will find absolutely no scarcity of books about the Hudson River these days: guide books, history books, ecological books, picture books. My purpose here is to discuss two examples of the last category, Scenic Hudson's panoramic Rizzoli volume with photographs by Greg Miller and Stanley Lichens' intimate book of hand-colored black and white photographs. These are by no means the only photographic collections of the Hudson on the market, but they have come to my attention in their own ways, and they illustrate two radically different modes of seeing this familiar, but, as Henry James said, "perpetually interesting" river—especially interesting today, as its hard-won cleanup progresses, restoring somewhat the Hudson that James, and even earlier, proto-industrial visitors knew, if still a far cry from the Hudson of Washington Irving.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2009/05/hudson-river-valley-photographed-greg-miller-stan-lichens/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Abord the Queen Mary 2: a Reminiscence with Photographs</title>
		<link>http://berkshirereview.net/2009/01/abord-queen-mary-2/</link>
		<comments>http://berkshirereview.net/2009/01/abord-queen-mary-2/#comments</comments>
		<pubDate>Fri, 16 Jan 2009 07:00:00 +0000</pubDate>
		<dc:creator>Kate Hagerman</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[Places]]></category>

		<guid isPermaLink="false">http://www.berkshirereview.net/?p=834</guid>
		<description><![CDATA[The Queen Mary 2 is a floating retirement home, but if you need a break from your frenzied life ashore the Isle of Manhattan, retiring for a week isn’t such a bad idea. The QM2 is no ordinary cruise ship. Cunard, the same company that built the Titanic, constantly makes the distinction that the QM2 is a voyager, a cruise ship is something else entirely. She is not only the greenest, most technologically savvy ship on the sea, she is also the sexiest ship ever built.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2009/01/abord-queen-mary-2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Meeting Charis</title>
		<link>http://berkshirereview.net/2008/12/meeting-charis/</link>
		<comments>http://berkshirereview.net/2008/12/meeting-charis/#comments</comments>
		<pubDate>Mon, 29 Dec 2008 23:38:38 +0000</pubDate>
		<dc:creator>Kate Hagerman</dc:creator>
				<category><![CDATA[Photography]]></category>
		<category><![CDATA[Brill Gallery]]></category>
		<category><![CDATA[Charis Wilson]]></category>
		<category><![CDATA[Edward Weston]]></category>
		<category><![CDATA[Eloquent Nude]]></category>
		<category><![CDATA[Nude and Naked]]></category>

		<guid isPermaLink="false">http://www.berkshirereview.net/?p=1175</guid>
		<description><![CDATA[I met Charis Wilson last summer at her friend Don’s house in Northern California. Charis, 94, wore black pants and a purple sweater and sat sprightly in a wheelchair. Her short hair was straight, smart, and delicate. She wore a purple headband and two bright blue hair combs. I immediately recognized her luminous face from [...]]]></description>
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		<slash:comments>0</slash:comments>
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