Nearby Café Home > Art & Photography > Photocritic International

Ends and Odds

One reason I value Omar Willey’s assessment of my writing, along with George Slade’s, is that both manifest substantial skills as writers themselves. Also, they both have a long-term involvement with photography that provides a perspective on my project as a critic which I find valuable as feedback, and which differentiates their observations from those of younger judges, no matter how insightful. […]

2012: That Was The Year That Was

Preoccupation with curation and management of “The Silent Strength of Liu Xia,” the touring exhibition of 26 photos by the dissident Chinese photographer, artist, and poet, also included design, publication, and content development of a substantial website for that project. That led to my putting various plans for this blog on hold. I have nothing else of that magnitude on the runway, so I’m returning to those ideas with renewed energy. […]

Polaroid Collection: Update 6

Polaroid Model 20 Swinger Manual, 1965. Ali McGraw as cover model.

It ain’t over till it’s over, as Yogi Berra famously remarked.

Presently a distinguished law firm is in dialogue with a distinguished photographer concerning the possibility of filing a Motion for Rehearing of the August 27, 2009 decision by the Minnesota Bankruptcy Court […]

Polaroid Collection: Update 3

Alas . . . All Our Love’s in Vain

First, the good news: Four of the letters objecting to the proposed Minnesota Bankruptcy Court approval of sale of the Polaroid Collection — those sent by myself, Judy Dater, Bea Nettles, and Jan Pietrzak — arrived in time to get entered into the record […]

Guest Post 4: George Slade on Polaroid

There is no clear disposition of the roughly 14,300 less valuable objects, which remain in the hands of whoever runs Polaroid as of August 31, when Polaroid converts from Chapter 11 bankruptcy to Chapter 7. (Friday, August 28 is the last day for all employees, though some will transfer roles and become contractors.) Sotheby’s has, apparently, offered to serve as an agent for institutions that might want to acquire the collection. Although earlier attempts to find buyers, with the 1700 “cream” works still part of the bargain, met with no acceptable offers, the auction house now has the freedom to go through the entire collection and make unspecified further arrangements regarding the items it has been given permission to auction. […]