Burson, Nancy (Continued)
individual exhibitions, 190, 191
interactive ageing machine, 188
investigations into science and technology, 190
patent, 189
perception of visual reality, 188
phases of oeuvre, 188
preconceived notions about subjects, 189
seeing equated with believing, 189
selected works, 193
similarities of works, 188
snapshot images, 190
special faces, 188
startling ways of reflecting ideas, 190
straight portraits, 189
use of digital technology, 189
voyeuristic composites, 189
Warhead I, 188
warmth of images, 190
C
CAAD visualizations, architectural photography and, 62
Cable release, 195–196
air bulb, 195
air, 196
applications, 195
cable lengths, 195
camera selection, 196
camera shutter and, 195
elaborate lighting setups and, 196
electronic, 196
hands-off device, 195
homemade, 196
macro-photography, 196
mechanical, 196
nature photography, 195
plunger, 196
relaxed subject and, 195
remote camera activation with, 195
straightforward, 196
studio photographer’s use of, 195
trip wires, 195
variation, 195
CAD,seeComputer Aided Design
Cadieux, Genevie`ve, 196–200
archives, 197
attraction and alienation, 198
biography, 198
Canadian, 196–198
classical genres, 197
Family Portrait, 198
fascination for body, 198
force of work, 196
formal features of work, 197
further reading, 200
group exhibitions, 198–199
implicit damage, 197
individual exhibitions, 198
influence of father’s repertory cinema, 196
La Fo ̃lure, au choeur des corps, 197
labeling of work, 197
most well-known works, 198
Paramour, 197
portrait statements, 198
quotation in Braille, 197
selected works, 199, 200
serial forms, 197
Storyville Portraits, 197
use of blown-up scars, 197
Venice Biennale, 197
works likened to pornography, 198
Cahun, Claude, 200–204
ambiguity of gender, 200, 201
Aveux non avenus, 201
Bifur, 201
biography, 202
central works, 200
collaboration with Malherbe, 201
collaboration with surrealists, 202
Communist International aesthetic conflict, 201
Contre-Attaque, 202
doubling montage, 201
ever-changing roles, 200
feminist theory, 200
formal portraits, 201
French, 200–202
frontal portraits, 201
further reading, 204
gender and identity debates, 200
group exhibitions, 202
imprisonment, 202
individual exhibitions, 202
L’Association des crivains et Artistes Revolutionnaires, 201
lesbian Jew, 201
most important book, 201
Nazi occupation of France, 202
Parisian avant-garde, 200
personal identity, 200
photographic tableaux, 202
postmodern strategies of self-production, 200
selected works, 202
Spanish Civil War, 202
surrealist journal, 201
unsettling effect of portraits, 201
warning of blind party loyalty, 201, 202
California School of Fine Arts(CSFA), 1682
Callahan, Harry, 204–207
American, 204–206
appropriation and, 205
art curators and, 204
articulated goal, 205
Bauhaus curriculum, 205
biography, 206
Center for Creative Photography and, 253
Detroit Photo Guild workshop, 204
double-exposure images, 206
European Modernism and, 205
formative period, 205
further reading, 207
General Motors Corporation photo lab, 204
Graham Foundation, 206
group exhibitions, 206, 207
image scavenging, 205
individual exhibitions, 206
influence of travels, 206
Institute of Design in Chicago, 204
international exhibition, 206
magazines, 206INDEXI17