after Deakin, 1952 (David Archer)    80x80, acrylic on canvas, 1998-9

after Deakin, 1952 (David Archer)

80x80, acrylic on canvas, 1998-9

  after Deakin, 1952 (Rayner Heppenstall)    80x80, acrylic on canvas, 1998

after Deakin, 1952 (Rayner Heppenstall)

80x80, acrylic on canvas, 1998

  after Deakin, 1957 (Oliver Bernard)    80x80, acrylic on canvas, 1998

after Deakin, 1957 (Oliver Bernard)

80x80, acrylic on canvas, 1998

  The Devolving Image (after Stieglitz, 1931 / Dorothy Norman)    24x24, acrylic/oil on MDF, 1997

The Devolving Image (after Stieglitz, 1931 / Dorothy Norman)

24x24, acrylic/oil on MDF, 1997

  The Disingenuous Document (after Man Ray, 1931 / untitled)    24x24, acrylic/oil on MDF, 1997

The Disingenuous Document (after Man Ray, 1931 / untitled)

24x24, acrylic/oil on MDF, 1997

  A Confusion of Fact with Metaphor (Neva, 1997)    24x24, acrylic/oil on MDF, 1997

A Confusion of Fact with Metaphor (Neva, 1997)

24x24, acrylic/oil on MDF, 1997

  The Photography Problem / Is Art Really Photography?    (after Atget, 1902 / Versailles, Park)    24x24, acrylic on MDF, 1997

The Photography Problem / Is Art Really Photography?

(after Atget, 1902 / Versailles, Park)

24x24, acrylic on MDF, 1997

  The Photography Problem / Is Art Really Photography?    (after Modotti, 1924 / El Manito)    24x24, acrylic on MDF, 1997

The Photography Problem / Is Art Really Photography?

(after Modotti, 1924 / El Manito)

24x24, acrylic on MDF, 1997

  Meaning in Photography / Any Thought Attaches to Any Image    (after Man Ray, 1934 / Mask)    24x24, acrylic on MDF, 1996

Meaning in Photography / Any Thought Attaches to Any Image

(after Man Ray, 1934 / Mask)

24x24, acrylic on MDF, 1996

 PREVENTIVE  memory  / image consumes medium   (after Atget, 1913 / Fortifications, porte de Sevres)    24x24, acrylic on MDF, 1996

PREVENTIVE memory / image consumes medium

(after Atget, 1913 / Fortifications, porte de Sevres)

24x24, acrylic on MDF, 1996

  The  RHETORICAL  image  / fact but fiction   (after Atget, 1913 / Bercy, la halle aux vins)    24x24, acrylic on MDF, 1996

The RHETORICAL image / fact but fiction

(after Atget, 1913 / Bercy, la halle aux vins)

24x24, acrylic on MDF, 1996

  The  IMAGINED  memory  / failure of criticism   (after Atget, nd / Jardin de l'ambassade d'Autriche, Hotel Matignon, 57 rue de Varenne)     24x24, acrylic on MDF, 1996

The IMAGINED memory / failure of criticism

(after Atget, nd / Jardin de l'ambassade d'Autriche, Hotel Matignon, 57 rue de Varenne) 

24x24, acrylic on MDF, 1996

 ETHEREAL  material  / saturated and coerced   (after Atget, 1926 / Place de la Concorde)    24x24, acrylic on MDF, 1996

ETHEREAL material / saturated and coerced

(after Atget, 1926 / Place de la Concorde)

24x24, acrylic on MDF, 1996

  pathological  DOCUMENT  (after Atget, 1924 / Place des Vosges)    16x16, acrylic on MDF, 1995

pathological DOCUMENT (after Atget, 1924 / Place des Vosges)

16x16, acrylic on MDF, 1995

 ANY  thought  ANY  image   (after Atget, 1902 / Quai Voltaire)    16x16, acrylic on MDF, 1995

ANY thought ANY image (after Atget, 1902 / Quai Voltaire)

16x16, acrylic on MDF, 1995

 ABSTRACTIVE  transparency (after Atget, 1913 / Fortifications, porte de Versailles)    16x16, acrylic on MDF, 1995

ABSTRACTIVE transparency (after Atget, 1913 / Fortifications, porte de Versailles)

16x16, acrylic on MDF, 1995

 ABSTRACTIVE  transparency   (after Atget, 1901 / Porte de l’Hotel de Ville)    16x16, acrylic on MDF, 1995

ABSTRACTIVE transparency (after Atget, 1901 / Porte de l’Hotel de Ville)

16x16, acrylic on MDF, 1995

  The Devolving Image, red (after Steichen, 1906 / Balzac, The Open Sky)    30x30, acrylic on MDF, 1995

The Devolving Image, red (after Steichen, 1906 / Balzac, The Open Sky)

30x30, acrylic on MDF, 1995

  The Disingenuous Document (after Weston, 1925 / Tina, Mexico)    30x30, acrylic on MDF, 1995

The Disingenuous Document (after Weston, 1925 / Tina, Mexico)

30x30, acrylic on MDF, 1995

  after Deakin, 1952 (David Archer)    80x80, acrylic on canvas, 1998-9
  after Deakin, 1952 (Rayner Heppenstall)    80x80, acrylic on canvas, 1998
  after Deakin, 1957 (Oliver Bernard)    80x80, acrylic on canvas, 1998
  The Devolving Image (after Stieglitz, 1931 / Dorothy Norman)    24x24, acrylic/oil on MDF, 1997
  The Disingenuous Document (after Man Ray, 1931 / untitled)    24x24, acrylic/oil on MDF, 1997
  A Confusion of Fact with Metaphor (Neva, 1997)    24x24, acrylic/oil on MDF, 1997
  The Photography Problem / Is Art Really Photography?    (after Atget, 1902 / Versailles, Park)    24x24, acrylic on MDF, 1997
  The Photography Problem / Is Art Really Photography?    (after Modotti, 1924 / El Manito)    24x24, acrylic on MDF, 1997
  Meaning in Photography / Any Thought Attaches to Any Image    (after Man Ray, 1934 / Mask)    24x24, acrylic on MDF, 1996
 PREVENTIVE  memory  / image consumes medium   (after Atget, 1913 / Fortifications, porte de Sevres)    24x24, acrylic on MDF, 1996
  The  RHETORICAL  image  / fact but fiction   (after Atget, 1913 / Bercy, la halle aux vins)    24x24, acrylic on MDF, 1996
  The  IMAGINED  memory  / failure of criticism   (after Atget, nd / Jardin de l'ambassade d'Autriche, Hotel Matignon, 57 rue de Varenne)     24x24, acrylic on MDF, 1996
 ETHEREAL  material  / saturated and coerced   (after Atget, 1926 / Place de la Concorde)    24x24, acrylic on MDF, 1996
  pathological  DOCUMENT  (after Atget, 1924 / Place des Vosges)    16x16, acrylic on MDF, 1995
 ANY  thought  ANY  image   (after Atget, 1902 / Quai Voltaire)    16x16, acrylic on MDF, 1995
 ABSTRACTIVE  transparency (after Atget, 1913 / Fortifications, porte de Versailles)    16x16, acrylic on MDF, 1995
 ABSTRACTIVE  transparency   (after Atget, 1901 / Porte de l’Hotel de Ville)    16x16, acrylic on MDF, 1995
  The Devolving Image, red (after Steichen, 1906 / Balzac, The Open Sky)    30x30, acrylic on MDF, 1995
  The Disingenuous Document (after Weston, 1925 / Tina, Mexico)    30x30, acrylic on MDF, 1995

after Deakin, 1952 (David Archer)

80x80, acrylic on canvas, 1998-9

after Deakin, 1952 (Rayner Heppenstall)

80x80, acrylic on canvas, 1998

after Deakin, 1957 (Oliver Bernard)

80x80, acrylic on canvas, 1998

The Devolving Image (after Stieglitz, 1931 / Dorothy Norman)

24x24, acrylic/oil on MDF, 1997

The Disingenuous Document (after Man Ray, 1931 / untitled)

24x24, acrylic/oil on MDF, 1997

A Confusion of Fact with Metaphor (Neva, 1997)

24x24, acrylic/oil on MDF, 1997

The Photography Problem / Is Art Really Photography?

(after Atget, 1902 / Versailles, Park)

24x24, acrylic on MDF, 1997

The Photography Problem / Is Art Really Photography?

(after Modotti, 1924 / El Manito)

24x24, acrylic on MDF, 1997

Meaning in Photography / Any Thought Attaches to Any Image

(after Man Ray, 1934 / Mask)

24x24, acrylic on MDF, 1996

PREVENTIVE memory / image consumes medium

(after Atget, 1913 / Fortifications, porte de Sevres)

24x24, acrylic on MDF, 1996

The RHETORICAL image / fact but fiction

(after Atget, 1913 / Bercy, la halle aux vins)

24x24, acrylic on MDF, 1996

The IMAGINED memory / failure of criticism

(after Atget, nd / Jardin de l'ambassade d'Autriche, Hotel Matignon, 57 rue de Varenne) 

24x24, acrylic on MDF, 1996

ETHEREAL material / saturated and coerced

(after Atget, 1926 / Place de la Concorde)

24x24, acrylic on MDF, 1996

pathological DOCUMENT (after Atget, 1924 / Place des Vosges)

16x16, acrylic on MDF, 1995

ANY thought ANY image (after Atget, 1902 / Quai Voltaire)

16x16, acrylic on MDF, 1995

ABSTRACTIVE transparency (after Atget, 1913 / Fortifications, porte de Versailles)

16x16, acrylic on MDF, 1995

ABSTRACTIVE transparency (after Atget, 1901 / Porte de l’Hotel de Ville)

16x16, acrylic on MDF, 1995

The Devolving Image, red (after Steichen, 1906 / Balzac, The Open Sky)

30x30, acrylic on MDF, 1995

The Disingenuous Document (after Weston, 1925 / Tina, Mexico)

30x30, acrylic on MDF, 1995

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