AA Bronson and Eve Sonneman

These two photographs, part of a rotating display of works from the collection at the Art Institute of Chicago, speak to my recent images which include mirrors and paired images.

General Idea (AA Bronson) - Mirror Sequences (1969)

General Idea (AA Bronson), Mirror Sequences (1969)
Art Institute Chicago, Photography and Media, Gallery 10

Discussion by AA Bronson: 

In 1968, when I began taking self-portraits, I was concerned with the body: more specifically, with my body, and with my body in relation to my friends' bodies. I had no other way to measure the world. Lacking an identity, or any way to judge my separation from others, I began with my physical self. This would later prove inadequate, but it was a beginning. 

http://users.rcn.com/aamark/mirrormirror/lookingglass/mirror1.htm

Mirror Sequences wall text in Gallery 10: 

In 1968, when I began taking self-portraits, I was concerned with the body: more specifically, with my body, and with my body in relation to my friends' bodies. I had no other way to measure the world. Lacking an identity, or any way to judge my separation from others, I began with my physical self...

-AA Bronson, 2002

Mirror Sequences is a self-portrait in which a convex mirror reflects and multiplies a fragmented body. The photograph was taken by AA Bronson and is credited to General Idea, an artist collective founded in 1969 by Bronson, Felix Partz (Canadian, 1945-1994), and Jorge Zontal (Italian, 1944-1994). General Idea would go on to create parodies of the art world and consumer culture and respond forcefully to the AIDS epidemic.

Eve Sonneman, Dusk (1979)

Eve Sonneman, Dusk (1976)
Art Institute of Chicago, Photography and Media, Gallery 10

Dusk wall text in Gallery 10:

To create this diptych, Eve Sonneman paired two images, taken moments apart, of tourists on an observation deck.

Their shadows, as well as the photographer's, loom large and draw attention to the darkening of the sky in the moment between the frames. By displaying images shot in rapid succession, Sonneman challenged the notion of the "decisive moment," a reigning idea in mid-century photography according to which the best picture is the one that entirely sums up a scene in a single instant. Instead, Sonneman suggests that photography can reveal time to be arbitrary and mutable, never fully frozen by the camera.

NYTimes Review (1982): https://www.nytimes.com/1982/04/18/arts/photography-view-eve-sonneman-s-explorations-by-andy-grundberg.html 

On A Walk Today

Larry Wolf, Roots and Rocks (2025)

Larry Wolf, Reflections (2025)

Larry Wolf, Reflections (2025)

Larry Wolf, Reflections (2025)

Haunted

Larry Wolf, Haunted (2025)

Crack

Larry Wolf, Cup (2025)

Larry Wolf, Cup (2025)

Larry Wolf, Cup (2025)

A Year in Zines - 2024

Larry Wolf, A Year in Zines 2024 (2025)

I realized that most of these have not made it to my blog, so here's a very quick recap.

A Glimpse of History

Larry Wolf, March on Washington 1979 (2024)

Larry Wolf, March on Washington 1979 (2024)

After the 2024 election, I needed a reminder that I have lived in rough times. It's not new. So this zine of images from the 1979 March on Washington for LGBTQ Rights. Images from my archive. I was also there in 1987 and 1993. 

Within The Canon

Larry Wolf, In Conversation 2024 (2025)

For several months in 2024, Gallery 293 at the Art Institute was filled with works by queer artists who lived in New York in the 1970s, 80s and 90s. I learned of their cross-connections through my own research. These five zines, In Conversation, put me in dialogue with the artists: Greer Langton, David Wojnarowicz, Zoe Leonard, Martin Wong, Felix Gonzalez-Torres, and others. There's a separate page about my explorations. 

Enfants Terribles

Larry Wolf, Enfants Terribles 2024 (2025)

Arthur Rimbaud and David Wojnarowicz shook things up in their time and for decades after. They lived almost exactly 100 years apart. Now together in a zine (and this earlier blog post).

A Summer Afternoon

Larry Wolf, Summer in Vermont 2024 (2025)

More from the archive and also a risograph version. We were young once, and in our hearts, always.

Dual Lens

Larry Wolf, Dual Lens 2024 (2025)

I've been exploring making images with a lens intended for 3D. I'm captivated by how the two lenses make a pair of overlapping images, the right and left sides similar and different. This is the first zine to hold those images. More are in the works (see also Dual Lens).

Compositional Sketch in Sumi Ink

Larry Wolf, Water and Ink (2025)

Larry Wolf, Water and Ink (2025)

Compositional Sketches

Larry Wolf, Sketches (2025)

Collage In My Lap

Larry Wolf, Collage in My Lap (2025)

Shared Queer Space

From 2003 - 2014 the house I lived in at 144 Powers was the central gathering point for socializing and artmaking and it really was my muse. I began photographing friends in the kitchen and backyard. I then moved to photographing in my bedroom, where the sheets and pillows where my friends sat became a recurring landscape and an important foundation for the work. So bringing some of these images into the Alice Austen House definitely resonates with that history of domestic portraiture, friendship and intimacy in a home which becomes a shared, queer space. ...

The mid-2000s, when I began my first portrait projects, when I was enmeshed within the Queer Zine revival, the debut of BUTT Magazine and its countless spin-offs, and the emergence of online social networking sites Friendster, Myspace, Manhunt and Adam4Adam.

I was distributing my work through zines and online, and the digital dissemination of the work immediately left the realm of my control and authorship. My interest quickly shifted from straight portraiture to the ways in which queer portraiture was being used and recontextualized, how the same portrait could serve both as artwork in one context and as solicitation in another.

... in retrospect, it is interesting how I found stability through the discovery of a history of photographic portraiture's relationship to literature. In literature the author and the subject more easily slipped, swapped places, lingered in the space where the roles co-exist.

Paul Mpagi Sepuya, 

Artist Statement in the catalog for 144 Powers (June - September 2022)

Alice Austen House, Staten Island, NY 

A Note on the Photograph

The photograph is of the objects in my lap while flying home from a weekend in New York as seen by my dual-lens camera. 

The objects include the catalog for Paul Mpagi Sepuya's exhibition, 144 Powers, at the Alice Austin House, 2022. 

Fire Escape - Postcard from the Edge

Larry Wolf, Fire Escape - Postcard from the Edge (2024)

... because we need to have a place for important conversations when our lives, and the world, are on aflame ...

with inspiration from Ocean Vuong, The Weight of Our Living: On Hope, Fire Escapes, and Visible Desperation (Rumpus, 2014), my blog from 2020

Postcards from the Edge

This postcard was created for the annual fundraiser for Visual AIDS, seen here along with some of the 1583 other postcards donated this year.

Illusion of an Ideal

Larry Wolf, Illusion of an Ideal (2024)

In the subterranean spaces of a house is a spotlit model of the house, a cleared space in the underground rubble, a self within the self. Beyond, a barred window. What is abandoned? What is preserved? What is protected? What is imprisoned?

VR in1859

On Photography and Stereographs - Oliver Wendell Holmes, The Atlantic (June 1859)

The Holmes Stereoscope, Artifact of the Week

Oh, infinite volumes of poems that I treasure in this small library of glass and pasteboard! I creep over the vast features of Rameses, on the face of his rock-hewn Nubian temple; I scale the huge mountain-crystal that calls itself the Pyramid of Cheops. I pace the length of the three Titanic stones of the wall of Baalbek—mightiest masses of quarried rock that man has lifted into the air; and then I dive into some mass of foliage with my microscope, and trace the veinings of a leaf so delicately wrought in the painting not made with hands, that I can almost see its down and the green aphis that sucks its juices. I look into the eyes of the caged tiger, and on the scaly train of the crocodile, stretched on the sands of the river that has mirrored a hundred dynasties. I stroll through Rhenish vineyards, I sit under Roman arches, I walk the streets of once buried cities, I look into the chasms of Alpine glaciers, and on the rush of wasteful cataracts. I pass, in a moment, from the banks of the Charles to the ford of the Jordan, and leave my outward frame in the arm-chair at my table, while in spirit I am looking down upon Jerusalem from the Mount of Olives. ...

The very things which an artist would leave out, or render imperfectly, the photograph takes infinite care with, and so makes its illusions perfect. ... 

It has fixed the most fleeting of our illusions...  The mirror with a memory. ...

The mind feels round it and gets an idea of its solidity. We clasp an object with our eyes. The mind feels its way into the very depths of the picture. ...

There is such a frightful amount of detail that we have the same sense of infinite complexity which Nature gives us. ...

Form is henceforth divorced from matter .. matter as a visible object is of no great use any longer, except as the mould on which form is shaped. ...

There is only one Coliseum or Pantheon; but how many millions of potential negatives have they shed, — representatives of billions of pictures,— since they were erected! Matter in large masses must always be fixed and dear; form is cheap and transportable. We have got the fruit of creation now and need not trouble ourselves with its core. Every conceivable object of Nature and Art will soon scale off its surface for us. Men will hunt all curious, beautiful, grand objects, as they hunt the cattle in South America, for their skins, and leave the carcasses as of little worth. 

The consequence of this will soon be such an enormous collection of forms that they will have to be classified and arranged in vast libraries as books are now.  The time will come when a man who wishes to see any object, natural or artificial, will go to the Imperial, National or City Stereographic Library and call for its skin or form, as he would for a book at any common library. ...

Already a workman has been traveling about the country with stereographic views of furniture, showing his employer’s patterns in this way, and taking orders for them. ...

To render comparison of similar objects or of any that we may wish to see side by side, easy, there should be a stereographic metre or fixed standard of focal length for the camera lens to furnish by its multiples of fractions, if necessary, the scale of distances and the standard of power in the stereoscope lens. In this way the eye can make the most rapid and exact comparisons. ...

The greatest of human triumphs over earthly conditions, the divorce of form and substance. 

Oliver Wendell Holmes, The Atlantic (June 1859)