Cover image for Bill Jacobson : 1989-1997
Bill Jacobson : 1989-1997
Jacobson, Bill, 1955-
Personal Author:
Publication Information:
Santa Fe, N.M. : Twin Palms Publishers, 1998.
Physical Description:
1 volume (unpaged) : illustrations ; 31 cm
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Format :


Call Number
Material Type
Home Location
Item Holds
TR654 .J27 1998 Adult Non-Fiction Central Closed Stacks-Oversize

On Order



I started taking photographs as a teenager, nearly twenty-five years ago. Since then my work has been an meditation around desire, loss, and the role of photography as a vehicle for remembrance. My pictures often function as metaphors for the way the mind works: simultaneously collecting images while letting others go, fading in the way that memories fade, and alluding to the fact that, historically, photographs have faded as well. Decades I lose more and more friends to AIDS, the world is still a blur too. I am still struggling, though in different ways, to make sense of it all. While my photography is not specifically about AIDS it refers to what I have learned from being part of a community ravaged by the epidemic. By losing a steady stream of friends past fourteen years I to understand the transient nature of existence. For me these photographs have been a way of recording these feelings in an ongoing attempt forever. My work myself. Most photographs are meant as documents of moments we wish to hold onto forever. My work suggests that these moments, like life itself, are constantly fading into the past.

Author Notes

Klaus Juergen-Dieter Kertess was born in Manhattan, New York on July 16, 1940. He received a bachelor's degree in art history in 1962 and a master's degree in art history in 1964 from Yale University. After graduation, he took a job at the advertising agency Interpublic. In 1966, he opened the Bykert Gallery with financial backing from a college friend Jeffrey Byers. After leaving the gallery in 1975, he became a curator and writer.

He was a curator at the Parrish Art Museum from 1983 to 1989. He then became adjunct curator of drawing at the Whitney Museum of American Art from 1989 to 1995. He also curated exhibitions at the Drawing Center in New York and the Museum of Contemporary Art in Detroit. He wrote monographs on Brice Marden, Jane Freilicher and Joan Mitchell. His books include a collection of criticism entitled Seen, Written: Selected Essays and a collection of short stories entitled South Brooklyn Casket Company. He died on October 8, 2016 at the age of 76.

(Bowker Author Biography)

Reviews 1

Library Journal Review

Two of the finest recent monographs on contemporary photographers, these publications use completely different presentations to highlight each artist's work to its best advantage. Jacobson's blurry black-and-white images, which he has described as an "ongoing meditation around desire, loss, and the role of photography as a vehicle for remembrance," offer hazy apparitions, stand-ins for our own lost acquaintances, friends, and lovers. Presented chronologically, the 49 pictures here progress from mostly light, nearly recognizable images of people in familiar settings through fading portraits to almost black, abstract seascapes. The design is minimal, with one exquisitely printed sheet-fed gravure per spread; there is no text, but a short story about a lost love by curator Kertess and a list of plates close the volume. Though she committed suicide in 1981 when she was just 22 years old, Woodman remains influential and her work looks as fresh and startling as that of anyone working today. The daughter of artists, she immersed herself in photography from the time she received her first camera and was recognized early as an exceptional talent. She most frequently used herself or, more precisely, her body as subject, and she produced a wide range of work, from surreal tableaux to story boards to fleeting portraits. These works that above all else seem to convey the imprecision of life are well analyzed in four introductory essays. Next come more than 110 pages of plates drawn from the full decade that she was active, followed by a biography, exhibition history, and bibliography. This is the only work on Woodman in print and by far the most comprehensive ever published; it deserves a place in any serious photography collection. Though perhaps not a definitive study, Jacobson's book presents his work in the best possible light and belongs in collections with an interest in contemporary photography.√ĄEric Bryant, "Library Journal" (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.