December 3rd, 2006

Chris Keeley

Princeton, Diplomats and Charitable Donations

Afghan President Hamid Karzai recently noted that "once we thought
terrorism was Afghanistan's biggest enemy" but said that now "poppy, its
cultivation and drugs are Afghanistan's major enemy."


       Princeton asked to return donation
       <http://www.washingtontimes.com/national/20061128-110155-1981r.htm>

   *Published November 29, 2006
   *
   ------------------------------
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   TRENTON, N.J. (AP) -- The family that in 1961 made one of the
   biggest donations in the history of academia to Princeton University
   wants its money back.
       Relatives of Charles and Marie Robertson said the couple wanted
   their gift to be spent solely to educate graduate students for
   careers in government, especially as diplomats for the United States.
       But the family now says the university has not churned out many
   diplomats and large portions of the gift -- now worth more than $750
   million -- have been used for other purposes. The family wants to
   take the money back so it can give it to a school that will carry
   out its mission.
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Chris Keeley

Almost every Shore photograph is organized around a bright panel or pole of red—a distinctively New

For all his personal disorganization, he was able to handle his work with extraordinary care and methodical purpose: he roved the streets with a 35-mm. camera, “sketching” possible scenes in the least pictured vistas of the city. Then, later in the week, he would return and be ready to make his picture, waiting for the right light—the pregnant, rather than the decisive, moment—to take and keep a city corner that no one else might have thought worth preserving.

Almost every Shore photograph is organized around a bright panel or pole of red—a distinctively New York red, not a sunset or a tropical red but an emergency-call-box or fire-station or athletic-socks red.

STREET LIFE
by ADAM GOPNIK
Jerry Shore’s New York, and ours.
Issue of 2006-11-27
Posted 2006-11-20

We see New York, and sometimes, as Henry James asked us to, we “do it”—explore and conquer it—but what we see when we see it is so far unlike what we experience when we’re doing it that the difference itself can become a subject for art. The city sneaks up on us in pictures, and we are startled to see what it looks like even when what it looks like is just us, doing what we really do. We respond to truthful depictions of New York with the same surprise that we feel when we hear a recording of our own voice.

This surprise is one of the subjects of the extraordinary, lost—or, actually, never found in the first place—American photographer Jerry Shore. Shore did New York, was done by it, and then became a kind of artist-martyr to the act of seeing it. In the last decade of his life, Shore, after twenty years as one of the leading short-form commercial directors of his time, fell down a well of alcohol and isolation. He died in 1994, at the age of fifty-nine, and left behind four thousand photographic prints, most of New York City streets, in Queens and Manhattan, in Turtle Bay and Chelsea and the old meatpacking district. Only one of them had ever been sold. The collector Daniel Wolf bought all of Shore’s work, in 1995, and has archived it, so that, for the first time, it is possible to see the range and intensity of what he accomplished, and discover an original New York eye.

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Chris Keeley

Mr. Soth has since been swooped up by the much more famous dealer Larry Gagosian.

is show of eerie portraits of children by the German photographer Loretta Lux put him on the map.

What’s New in Photography: Anything but Photos
By PHILIP GEFTER

IN New York City, a vast number of commercial galleries show photographs. Many of them represent photography exclusively; some show photo-based art that incorporates other mediums; others are galleries that represent painters and sculptors primarily but also include a handful of photographers. But in the last few years, some of the most famous and long-standing photography galleries have begun mixing nonphotographic work in with their primary offerings.

It may not be a revolution, but it is a significant change in the gallery landscape. These are the places that helped to establish photography’s viability as an art form as well as to create a business model. Having proven their point, they are now at liberty to experiment.
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