1989 The Art of Photography: 1839–1989; Museum of Fine
Arts, Houston, Texas; Royal Academy of Art, London,
England; Ministry of Culture of the Soviet Union, Mos-
cow; National Gallery of Australia, Canberra, Australia
1995 1965–1975: Reconsidering the Object of Art; Museum
of Contemporary Art/The Temporary Contemporary,
Los Angeles, California
1996 Hall of Mirrors: Art and Film Since 1945; The Museum
of Contemporary Art/The Temporary Contemporary,
Los Angeles, California
1996 Face al’Histoire 1933–1966: L’artiste moderne face a
l’e ́ve ́nement historique; Centre Georges Pompidou, Paris,
France
2000 Media/Metaphor; 46th Corcoran Biennial, Corcoran
Gallery of Art, Washington, D.C.
Selected Works
Assemble ́e dans un Parc, 2004
Listen to Britain, 2002
Watergate, 2000
Nietzsche’s Paris, 1999–2000
Lichtung, 1998–1989
Love Stories #2, 1996
Venise, 1993
Office at Night, 1985–1986
The Bridge, 1984
Gradiva, 1982
US 77, 1977
Possession, 1976
Performative Narrative, 1971
Room, 1970
Photopath, 1967
Selected Publications
Exhibition catalogues
Burgin, Victor, Stephen Bann, Peter Osborne, Franc ̧ oise
Parfait, and Catsou Roberts.Relocating. Bristol: Arnol-
fini, 2002.
Burgin, Victor, Norman Bryson, Nuria Enguita Mayo,
Francette Pacteau, and Peter Wollen.Victor Burgin.
Barcelona: Fundacio ́Antoni Ta`pies, 2001.
Burgin, Victor, and Anthony Vidler.Shadowed. London:
Architectural Association, 2000.
Burgin, Victor.Passages. Lille: Muse ́e d’art moderne de la
Communate ́Urbaine de Lille, Villeneuve d’Ascq, 1991.
Burgin, Victor.Between. London: ICA, and Oxford and
New York: Basil Blackwell, 1986.
Burgin, Victor.Victor Burgin. Eindhoven: Stedelijk van
Abbemuseum, 1977.Theoretical Writings
Burgin, Victor.The Remembered Film. London: Reaktion
Books, 2004.
Burgin, Victor.In/Different Spaces: Place and Memory in
Visual Culture. Berkeley and Los Angeles: University of
California Press, 1996.
Burgin, Victor.The End of Art Theory: Criticism and Post-
modernity. London: Macmillan Press; and Basingstoke,
and New Jersey: Humanities Press International, l986.
Burgin, Victor, James Donald, and Cora Kaplan, eds.For-
mations of Fantasy. London: Methuen, 1986.
Burgin, Victor, ed.Thinking Photography. London and
Basingstoke: The Macmillan Press Ltd.; and New Jersey:
Humanities Press International, l982.Artists’ Books
Burgin, Victor.Some Cities. Berkeley and Los Angeles:
University of California Press; and London: Reaktion
Books, 1996.
Burgin, Victor.Venise. London: Black Dog Publishing,
1997.
Burgin, Victor.Family. New York: Lapp Princess Press and
Printer Matter, 1977.
Burgin, Victor.Work and Commentary. London: Latimer,
1973.BURNING-IN
Burning-in is a darkroom technique employed by
photographers to fine-tune the tone and shadows in
one or more areas of a print by adding more light to
those areas than the rest of the image receives. Once
a photographer has determined how long his expo-
sure should be and has made a print at that expo-
sure time, he might decide that there are areas of the
print that are too light, but that increasing the over-
all exposure time would make most of the print too
dark. Burning-in allows him to add more light only
to selected areas of the print while still maintaining
the original exposure time for the rest of the image.
Burning-in is often used to darken areas that are too
light so that, hopefully, more information from the
negative will show up on the final print.
It is important to remember that burning-in oc-
curs after the initial exposure time and is the addi-
tion of light to specific areas of the print. WhileBURNING-IN