A history of art is a chronicle of both relationships and artworks—here presented together in a collection of photographs. I intend these prints to be shown in sequences in which one artist refers to another who then refers to another and so on so as to describe a network of connections. As with today’s online social networks, such associations can become various and complex, linking and branching to reveal interactions of reference, collaboration, commentary, critique and homage.

Click the following sequences to view multi-page PDFs of large images with descriptive titles and display information, including a list of institutions that have accessioned sets of these photographs and
a guide that is to be shown with the prints.

Man Ray – Charlotte Moorman
Marcel Duchamp – Yves Tanguy
Man Ray – Barbara Morgan
Kurt Schwitters – Alberto Giacometti
Jasper Johns – Jean Tinguely
Red Grooms – Don Celender

My interest in photographing artworks in which one artist refers to another became an ongoing project when I noticed that the art I loved and had been photographing in museums and galleries was often about relationships and connections among artists. Such artworks are not common, especially ones that can be photographed well. On a typical visit to a museum I may find one or two potential subjects but often find none. The challenge is to work with the few that I find to assemble coherent sequences of photographs that carry forward a thread of connections.

Visualizing connections among artists has been a fascinating pursuit. I think of each connection as part of an alternate history of art—built on relationships and reference rather than on chronology and influence. After making a successful photograph, I often am inspired to read about the artists’ works and lives and to choose quotations to accompany selected photographs (see below). These brief texts are meant either to elucidate the character of an artist or to comment on the significance of a connection to another artist.

Artist to Artist is, for me, a photographic romance with art and artists, so it is essential that I make prints that are as beautiful and engaging as possible. In the quest for perfection, I often take liberties with the appearance of an artwork and its background, optimizing a print to look its best as part of an extended series of idealizing images.

The six sequences (above) are comprised of photographs selected from the following eighty. Other sequences can be composed, and viewers are invited to discover their own:

Robert Heinecken—Marcel Duchamp—Eadweard Muybridge

Digital-pigment print, 16"x12"
Photographed at Robert Heinecken’s office, UCLA, 1974


Robert Heinecken’s Muybridge print (Eadweard Muybridge, 1887)
“Nude Descending a Staircase”


Marcel Duchamp—Walter Arensberg    

Digital-pigment print, 12"x16"
Photographed at the Philadelphia Museum of Art, 2006

  50ccs of Paris Air
(Marcel Duchamp, 1919)
Gift to Walter Arensberg

Marcel Duchamp—Guillaume Apollinaire    

Digital-pigment print, 16"x12"
Photographed at Museu d’Art Contemporani de Barcelona, 2004


Apolinère Enameled
(Marcel Duchamp, 1916)

We judge the moment has come to group ourselves around Guillaume Apollinaire. More than anyone today he has broken new ground, opened new directions. He has the right to all our fervor and admiration.

— Pablo Picasso, Juan Gris, Max Jacob,   
Paul Dermée, Reverdy and Blaise Cendrars   
On the occasion of a 1917   
banquet to honor Apollinaire   


Joseph Cornell—Guillaume Apollinaire + Pablo Picasso    
  Variétés Apollinaris
(for Guilliame Apollinaire)

(Joseph Cornell, 1953)
Figure from Picasso’s Les Saltimbanques
Digital-pigment print, 12"x16", 2008


Dan Flavin—Guillaume Apollinaire    

Digital-pigment print, 16"x12", 2007

  Apollinaire Wounded
(Dan Flavin, 1959–1960)

Dan Flavin—Vladimir Tatlin    

Digital-pigment print, 12"x16", 2007

  Four Monuments for
V. Tatlin by Dan Flavin
Leo Castelli Gallery Poster, 1970

Francis Picabia—Guillaume Apollinaire    

Digital-pigment print, 12"x16"
Photographed at Museu d’Art Contemporani de Barcelona, 2004


Picabia Portrait of Apollinaire, 1917

In my arrival on earth I found humanity on its last legs, devoted to fetishes, bigoted, barely capable of distinguishing good from evil—and I shall leave it intelligent, enlightened, regenerated, knowing there is neither good nor evil nor God nor devil nor spirit nor matter in distinct separateness.

—The character Dr. Cornelius Hans Peter   
from Apollinaire’s novel, Que Faire, 1900   


Francis Picabia—Alfred Stieglitz    

Digital-pigment print, 12"x16",
Photographed at the Palace of the Legion of Honor,
San Francisco, David Logan Collection, 2001


Picabia Portrait of Stieglitz, 1915

Man made the machine in his own image. She has limbs which act; lungs which breathe; a heart which beats; a nervous system through which runs electricity. The phonograph is the image of his voice; the camera the image of his eye. The machine is “his daughter born without a mother.”

—Paul Haviland, “291” magazine, 1915   


Sherrie Levine—Alfred Stieglitz    

Digital-pigment print, 16"x12", 2008

  Equivalents: After Stieglitz “Songs of the Sky, 1923” — 8 of 18 photographs, Sherrie Levine, 2006

Stieglitz’s Songs of the Sky seem to celebrate, in subtle variation, forces of light triumphant over those of darkness; affirmation beyond anguish. They symbolize what is at once sacred and what wounds the sacred core of our being, what is vulnerable yet when confronted and transformed becomes life-enhancing. Profoundly erotic, the prints both express and transcend the personal.
—Dorothy Norman, Alfred Stieglitz,  
An American Seer,

Elizabeth Peyton—Alfred Stieglitz—Georgia O'Keefe    

Digital pigment print, 12"×16"
Photographed at the Whitney Museum of American Art, New York, 2016


Georgia, (After Stieglitz, 1918), Elizabeth Peyton, 2006.

The portrait of Alfred Stieglitz in the lower left corner is a detail of Georgia O'Keefe and Alfred Stieglitz, Arnold Newman, 1944

Marcel Duchamp—Alfred Stieglitz (Marsden Hartley) (William Camfield)    

Digital-pigment print, 12"x16"
Photographed at Landweber’s studio, 2006


Marcel Duchamp: Fountain
(William Camfield, 1989)
Cover Photograph by Alfred Stieglitz, 1917, with Marsden Hartley’s The Warriors as Background

Duchamp saw the artist as a readymade to be moved through the market like a chess piece on a grid.

—David Joselit, The Société   
Anonyme: Modernism for America,


David Hammons—Marcel Duchamp (Leonardo)    

Digital-pigment print, 16"x12"
Photographed at the Museum of Modern Art, New York, 2008


The Holy Bible: Old Testament
(David Hammons, 2002)

Appropriating The Complete Works of Marcel Duchamp, Arturo Schwarz , 1970 and L.H.O.O.Q, Marcel Duchamp,1919.

Beatrice Wood—Marcel Duchamp + Francis Picabia + Albert Gleizes    

Digital-pigment print, 16"x12"
Photographed at The Hammer Museum, Los Angeles, 2011

  Soirée (Beatrice Wood, 1917),
Apartment of Walter and Louise Arensberg, New York

Marcel Duchamp—Mary Reynolds + Constantin Brancusi    

Digital-pigment print, 12"x16"
Photographed at the Ryerson Library
Art Institute of Chicago, Mary Reynolds Collection, 2007

  Duchamp, Reynolds, Brancusi
(Marcel Duchamp, 1929)
Villefranche-sur-Mer, France

Katherine Dreier + Joseph Stella + Man Ray + Marcel Duchamp et al.

Digital-pigment print, 16"x12", 2006

Petit Dada (Richard Boix, 1921)
Société Anonyme—NY Modern Art Group

Marsden Hartley’s lecture at the April meeting:
“Do You Want to Know What a Dada Is?”

Mrs. Claire Dana Mumford, a painter, author, and psychologist enlisted by Katherine Dreier to represent the opposition, began by berating the Dadaists. Joseph Stella, the Cubist, was seated in the center of the room with a group of friends and apparently found it difficult to take this seriously. The lady broke off suddenly and said, “I wish that fat man,” indicating Mr. Stella, “would say something. He has been annoying me during my reading by laughing.” Miss Dreier, the president of the Société Anonyme, thinking to pour oil upon troubled waters, arose and said, “Why, I thought this was to be a funny evening,” but Mrs. Mumford, who now appeared to be distinctly ruffled, said, “Well, why cannot somebody explain to me what these dreadful pictures on the wall mean, if they mean anything at all?”

—From a press report on the  
Société Anonyme meeting of April 1, 1921  


Marcel Duchamp—Man Ray    

Digital-pigment print, 12"x16"
Photographed at the Norton Simon Art Museum, Pasadena, 2008

  Monte Carlo Bond
(Marcel Duchamp, 1924)
Photograph of Duchamp by Man Ray

Extracts from the Company Statutes
Clause No. 1. The aims of the company are:
1. Exploitation of roulette in Monte Carlo under the following conditions:
2. Exploitation of Trente-et-Quarante and other mines on the Cote Azur, as may be decided by the Board of Directors.
Clause No. 2. The annual income is derived from a cumulative system which is experimentally based on one hundred thousand rolls of the ball; the system is the exclusive property of the Board of Directors. The application of this system to simple chance is such that a dividend of 20% is allowed.
Clause No. 3. The Company shall be entitled, should the shareholders so declare, to buy back all or part of the shares issued, not later than one month after the date of the decision.
Clause No. 4. Payment of dividends shall take place on March 1 each year or on a twice yearly basis, in accordance with the wishes of the shareholders.
—From the back of the bond   
as translated by Arturo Schwarz   

Man Ray—Marcel Duchamp (David Ireland)    

Digital-pigment print, 12" × 16"
Photographed at 500 Capp Street, San Francisco, 2016

  Marcel Duchamp par Man Ray
On display at the posthumously preserved home of David Ireland, 500 Capp Street, San Francisco

You Canít Make Art By Making Art
—Title of David Ireland's 1980 Exhibition
at the Claremont Graduate School Gallery

Man Ray + Erik Satie    

Digital-pigment print, 12"x16"
Photographed at the Philadelphia Museum of Art, 2008

(Man Ray, assisted by Erik Satie, 1921)

In his autobiography Man Ray recounted the story of the making of the original Cadeau. On the day of the opening of his first solo exhibition in Paris he had a drink with the composer Erik Satie and on leaving the café saw a hardware store. There with Satie’s help—Man Ray spoke only poor French at this point—he bought the iron, some glue and some nails, and went to the gallery where he made the object on the spot. He intended his friends to draw lots for the work, called “Cadeau,” but the piece was stolen during the course of the afternoon.
—Jennifer Mundy   
Notes from The Tate, London, 2003   

Man Ray—Meret Oppenheim (Stephanie Syjuco)    

Digital-pigment print, 12"x16"
Photographed at Catherine Clark Gallery, San Francisco, 2008


Detail of Neutral Calibration Studies (Ornament + Crime), Stephanie Syjuco, 2016, incorporating a cutout portrait of Meret Guggenheim by Man Ray

Laser-cut wood, archival Epson prints, digital fabric prints, live and artificial plants, mixed media

Man Ray—Lee Miller    

Digital-pigment print, 12"x16"
Photographed at the Philadelphia Museum of Art, 2005


Indestructible Object
(Man Ray, 1923/1932/1964)
Eye of Lee Miller

Cut out the eye from the portrait of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well aimed, try to destoy the whole at a single blow.

—Man Ray, This Quarter, September, 1932   


Lee Miller—Joseph Cornell    

Digital-pigment print, 16"x12"
Photographed at Norton Simon Art Museum, Pasadena, 2007


Joseph Cornell with One of His Objects
Portrait by Lee Miller, 1933

It gives me great pleasure to remember how many detours I had to make, along how many walls I had to grope in the darkness of my ignorance until I found the door which lets in the light of truth.

—Johannes Kepler, as translated by Arthur    Koestler in The Sleepwalkers, one   
of Joseph Cornell’s favorite books   


Joseph Cornell—Hedy Lamarr (Giorgione)    

Digital-pigment print, 12"x16"
Photographed at the studio of Dickran Tasjian, 2008


Enchanted Wanderer (Joseph Cornell)
Excerpt from a Journey Album
for Hedy Lamarr
(background portrait by Giorgione ca. 1500)
View Magazine,
December, 1941

She will walk only when not bid to, arising from her bed of nothing, her hair of time falling to the shoulder of space. If she speak, and she will only speak if not spoken to, she will have learned her words yesterday and she will forget them to-morrow, if to-morrow come, for it may not.
—Parker Tyler as quoted by Joseph Cornell   

Hedy Lamarr—Franz Klein    

Digital-pigment print, 12"x16"
Photographed at the Smithsonian Museum of American Art, 2008

  Letter from Hedy Lamarr to Franz Kline,

Franz Klein —Merce Cunningham    

Digital-pigment print, 12"x16"
Photographed at the Smithsonian Museum of American Art, 2008

  Merce C. (Franz Kline, 1961)

Barbara Morgan—Merce Cunningham    

Digital-pigment print, 12"x16"
Photographed at Scott Nichols Gallery, San Francisco, 2008

  Merce Cunningham: Totem Ancestor
(Barbara Morgan, 1942)

Man Ray—Paul & Nusch Éluard    

Digital-pigment print, 16"x12"
Photographed at the DeYoung Museum, San Francisco, 2006

  Façile (Paul Éluard, Man Ray, 1935)
Body of Nusch Éluard

In the center of the city the head is caught
   by the emptiness of the place
Not knowing what stops you o you stronger
   than a statue
Your first pledge is to solitude
Though it would be best to deny it
Have you ever taken yourself by the hand
Have you already touched your hands
They are small and tender
They are the hands of all women
And the hands of men fit them like a glove
The hands touching the same things

—Paul Éluard, "L’entente" from Façile,   
a short book of poems by Paul Éluard   
with photographs by Man Ray, 1935   

Yves Tanguy—Paul Éluard    

Digital-pigment print, 16"x12"
Photographed at the Museum of Modern Art, New York, 2008

  Letter from Yves Tanguy to Paul Éluard, 1933
I believe there is little to gain by exchanging opinions with other artists concerning either the ideology of art or technical methods.
—Yves Tanguy   

Man Ray—Paris Surrealists, 1934    

Digital-pigment print, 12"x16"
Photographed at the library of the Los Angeles County
Museum of Art, Bernard Karpel Collection, 2007


Échiquier Surréaliste
(Man Ray, 1934)
Surrealist Chessboard (press print)

André Breton, Max Ernst, Salvador Dali, Hans Arp, Yves Tanguy, René Char, René Crevel, Paul Éluard, Giorgio De Chirico, Alberto Giacometti, Tristan Tzara, Pablo Picasso, René Magritte, Victor Brauner, Benjamin Péret, Gui Rosey, Joan Miró, E.L.T. Mesens, Georges Hugnet, Man Ray

It is above all our differences that unite us.
—André Breton, ca.1920   

Sherrie Levine—Man Ray    

Digital-pigment print, 12"x16"
Photographed at the San Francisco Museum of Modern Art, 2006


La Fortune (After Man Ray)
(Sherrie Levine, 1990)

The success with which the artist is able to conceal the source of his inspiration is the measure of his originality.

—Man Ray, “Photography Is Not Art,” 1937   


Sherrie Levine—René Magritte    

Digital-pigment print, 16"x12"
Photographed at the Los Angeles County Museum of Art, 2007


A Pipe (Sherrie Levine, 2001)
après René Magritte,“Ceci n’est pas une pipe”

An object encounters its image, an object encounters its name. It happens that the image and the name of this object encounter each other.

—René Magritte: "Word Versus Image,"  
Sidney Janis Gallery, New York, 1954   


André Breton + René Magritte    

Digital-pigment print, 16"x12"
Photographed at the Ryerson Library
Art Institute of Chicago, Mary Reynolds Collection, 2007

Qu’est-ce que le surréalisme
(André Breton, René Magritte, 1934

My wife with the hair of a wood fir
With the thoughts of heat lightning
With the waist of an hourglass
With the waist of an otter in the teeth of a tiger
My wife with the lips of a cockade and of a bunch
    of stars of the last magnitude
With the teeth of tracks of white mice on the
   white earth
With the tongue of rubbed amber and glass
My wife with the tongue of a stabbed host
With the tongue of a doll that opens and closes its     eyes
With the tongue of an unbelievable stone
My wife with the eyelashes of strokes of a
    child's writing
With brows of the edge of a swallow's nest
My wife with the brow of slates of a hothouse roof
And of steam on the panes
My wife with shoulders of champagne
And of a fountain with dolphin-heads beneath the ice
My wife with wrists of matches
My wife with fingers of luck and ace of hearts
With fingers of mown hay
My wife with armpits of marten and of beechnut
And of Midsummer Night
Of privet and of an angelfish nest…

—André Breton, Freedom of Love (1920s)
translated bye Edouard Rodti (excerpt)

André Breton + Alberto Giacometti    

Digital-pigment print, 16"x12"
Photographed at the Museum of Modern Art, New York, 2008

  Le Surréalisme au service de la révolution (André Breton) / “Objets mobiles et muets,” including Disagreeable Object to be Thrown Away (Alberto Giacometti), 1931
The object of art is not to reproduce reality, but to create a reality of the same intensity.

—Alberto Giacometti   


Steve Wolfe—Alfred Barr (modern art movements)    

Digital-pigment print, 12"x16"
Photographed at the Museum of Modern Art, New York, 2008


Untitled (Cubism and Abstract Art by Alfred Barr) (Steve Wolfe, 1997) — oil, lithography ink and modeling paste on paper, mounted on wood and canvasboard. Barr's book was published in 1936.

Strongly resembling a Biblical genealogy, the [cover] attempted to depict all the relations and influences among the important artists and artistic movements which had swept across the European cultural landscape since 1890… Every aesthetic idea and movement appeared to have grown organically from earlier inventions or discoveries and hardly any seemed to have sprung purely from the imagination of individuals.

—Alice Goldfarb Marquis    
Alfred H. Barr, Jr., Missionary for the Modern,     1989    

Roger Kizik—Alfred Barr (Henri Matisse)    

Digital-pigment print, 16"x12"
Photographed at Axiom Contemporary, Art Market, San Francisco, 2016

  Matisse (by Alfred Barr) (Roger Kizik, 2011) — acrylic, cut paper on panel, 4×6½ feet.. Barr's book was published in 1951.

Alfred Barr—Lee Miller    

Digital-pigment print, 12"x16"
Photographed at Phladelphia Museum of Art, 2008

Alfred Barr slopping the pigs at Farley Farm, “The Home of the Surrealists.” Photograph by Lee Miller, 1952

Ad Reinhardt—Modernists.    

Digital-pigment print, 12"x16" 
Photographed at Landweber’s studio, 2007


How to Look at Modern Art in America
(Ad Reinhardt, 1946)
Cartoon for the New York Tabloid P.M.

The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else...

—Ad Reinhardt, introduction to the   
catalog of his 1966 retrospective   
at the Jewish Museum, NY   


Nicholas Knight—Pablo Picasso

Digital-pigment print, 12"x16" 
Photographed at Binder Gallery, Marfa, Texas, 2007


Transformed (Picasso)
(Nicholas Knight, 2005)


Pablo Picasso—Guillaume Apollinaire    

Digital-pigment print, 12"x16"
Photographed at the Met Breurer Museum, New York, NY, 2016


Head: Study for a Monument for Apollinaire's Tomb (Pablo Picasso, 1929)
—Unfinished Painting

When the writer Guillaume Apollinaire died in 1918, Picasso was commissioned to create a sculpted mounment for his friend's grave. More than a decade later, he was still searching for the form the memorial should take. This work is one among many sketches and paintings he created for the commission. He was inspired, perhaps, by one of Apollinaire's essays about a monument for a dead poet consisting of nothing but poetry and fame.
—Curator's label   


Jasper Johns—Pablo Picasso    

Digital-pigment print, 16"x12", 2007


Sketch for Cups 2 Picasso/Cups 4 Picasso
(Jasper Johns, 1971-1972)

I remember the first Picasso I ever saw.… I could not believe it was a Picasso. I thought it was the ugliest thing I’d ever seen.… I didn’t realize I would have to revise my notions of what painting is.

—Jasper Johns   


Richard Pettibone—Roy Lichtenstein—Picasso + Matisse    

Digital-pigment print, 16"x12" 
Photographed at Landweber’s studio, 2008


Picasso/Woman with Flowered Hat
Matisse/The Artist’s Studio: The Dance
(Richard Pettibone, 1970s) —Two Roy Lichtensteins

RP: What's the reason for art? To entertain. If you don't do that, what's the point?
IB: So the role of the artist is entertainer?
RP: I think that's part of it. What's so funny?
IB: That's not an answer I hear very often—you might get in trouble for that one.
RP: Oh no! Not the principal's office!

—Ian Berry conversation with Richard Pettibone   
Richard Pettibone: A Retrospective   
Skidmore College & Laguna Art Museum, 2005   


Roy Lichtenstein + Philip Glass    

Digital-pigment print, 16"x12"
Photographed at the Getty Research Institute, Barbara Rose papers, 2014

Roy Lichtenstein, left and Philip Glass, right. Shown in Lichtenstein’s studio with their recent collaboration—Modern Love Waltz, an 18" tall, bronze music box sculpture that plays an original composition by Philip Glass.
—Caption from the press photo   
Courtesy of Grinstein/Donenfeld   
Santa Monica, CA, 1991   

Chuck Close—Roy Lichtenstein    

Digital-pigment print, 12"x16" 
Photographed at the San Francisco Museum of Modern Art, 2016
Roy I (Chuck Close, 1994)
Oil on linen
Close has admired the subject of this painting, Pop artist Roy Lichtenstein, since his student days. In 1963 he made the short trip from Yale University to the Leo Castelli Gallery in New York to visit a Lichtenstein exhibition, where he purchased a lithograph by the artist. Here Close transforms his predecessor's characteristic style into a visual vocabulary of his own. Like Lichtenstein's Ben-Day dots, the individual gridded units that form Close's work are both marks to be appreciated in their own right and blots of paint that make up a larger image.
—Curator's label   

Chuck Close—Philip Glass (Nam June Paik)    

Digital-pigment print, 12"x16" 
Photographed at the Smithsonian
American Art Museum, Washington, DC, 2008
  Phil III, Portrait of Philip Glass (Chuck Close, 1982), cast paper pulp, with reflection of Electronic Superhighway: Continental U.S., Alaska, Hawaii (Nam June Paik, 1995)

Robert Arneson—Jackson Pollock    

Digital-pigment print, 16"x12" 
Photographed at Brian Gross Fine Art, San Francisco, 2016

  Stringhalt J (Robert Arneson, 1987)
Portrait of Jackson Pollock
Cast paper with paint

Red Grooms—Cedar Bar artists et. al.    

Digital-pigment print, 16"x12" 
Photographed at The Princeton University Art Museum, 2007


Cedar Bar
(Red Grooms, 1986)

Standing or seated
at the bar

Mark Rothko (hidden)
Willem de Kooning
Harold Rosenberg
Lee Krasner
Barnett Newman
Franz Kline
Ruth Kligman
Painted on the
back wall

N. Corone (hidden)
Richard Pousette-Dart
Two unidentified men
Seated in
the booths

Pat Pasloff
Phillip Guston
Ad Reinhardt
Frank O’Hara
Jackson Pollock
Larry Rivers
Herman Cherry
Elaine de Kooning (hidden)
Unidentified (hidden)
Adolph Gottlieb

Don Celender—Artists    

Digital-pigment print, 12"x16" 
Photographed at the Getty Research Institute,
Jean Brown papers, 2014

Holy, Holy Art Cards, Fancy Assorted Christmas Selection, (Don Celender, 1972)
12 cards from the pack of 50.

Helen Frankenthaller
Jim Dine
Clyfford Still
Jean Dubuffet
Mark Tobey
Robert Motherwell
Pablo Picasso
Donal Judd
Francis Bacon
Andy Warhol
Elaine de Kooning
Lee Krasner
Modern artists are history-minded, science-minded, and social-minded. They are religious but not ecclesiastical, reverent but not superstitious, theologically agnostic and yet loyal to essential human values.

—Albert E. Bailey   
Art and Character, 1938
(Verso of Francis Bacon art card)  


Wayne Thiebaud—Artists    

Digital-pigment print, 12"×16", 2008

35¢ Masterworks (Wayne Thiebaud, 1972)

Thomas Eakins
Diego Velazquez
Henri Rousseau
Chiam Soutine
Paul Cezanne
Piet Mondrian
Claude Monet
Giorgio Morandi
Edgar Degas
Henri Matisse
Pablo Picasso
Giorgio de Chirico

Mike Mandel—Photographers    

Digital-pigment print, 12"×16"
Photographed at Landweber’s studio, 2008


Baseball Photographer Trading Cards
(Mike Mandel, 1975), 89 cards and one duplicate from the pack of 134.

Ansel Adams
Jim Alinder
Harold Allen
Oscar Bailey
Duke Baltz
Michael Becotte
John Benson
Mike Bishop
Don Blumberg
Manuel Bravo
Ellen Brooks
Wynn Bullock
Pete Bunnell
Harry Callahan
Cornell Capa
Carl Chiarenza
Van Deren Coke
Al Coleman
Linda Connor
Eileen Cowin
Arnold Crane
Bob Cumming
Imogen Cunningham
Darryl Curran
Liliane DeCock
Jacob Deschin
John Divola
Robert Doherty
Jim Dow
Don Drowty
Elliott Erwitt
Bob Flick
Dave Freund
Arnold Gassan
Len Gittleman
Emmet Gowin
Betty Hahn
Jim Hajicek
Bobby Heinecken
Nick Hlobeczy
Scott Hyde
Joe Jachna
C. Jansen
Bill Jenkins
Ken Josephson
Gus Kayafas
Les Krims
Nathan Lyons
Mike Mandel
Duane Michals
Barbara Morgan
Joyce Neimanas
Bea Nettles
Beaumont Newhall
Anne Noggle
Cal Nowal
Ira Nowinski
Bill Owens
Timo Pajunen
Bart Parker
Linda Parry
Tom Porett
C. J. Pressma
Doug Prince
Lee Rice
Charley Roitz
Eva Rubinstein
Ed Ruscha
Naomi Savage
John Schulze
Arthur Siegel
Ed Sievers
Art Sinsabaugh
Aaron Siskind
Hank Smith
Fred Sommer
Larry Sultan
Chuck Swedlund
Al Sweetman
Edmund Teske
Jerry Uelsmann
R. vonSternberg
Todd Walker
Jack Welpott
Ed West
Minor White
Lee Witkin
Al Woolpert
Bunny Yeager

Salvador Dali—Luis Buneul, Jack Warner    

Digital-pigment print, 16"×12", 2008

  Portraits of Luis Bunuel and Jack Warner
(Salvador Dali, 1924/1951)
Dali and the Moving Image

Andy Warhol—Robert Rauschenberg    

Digital-pigment print, 16"×12"
Photographed at The Princeton University Art Museum, 2008

  Triple Rauschenberg
(Andy Warhol, 1964)

Yves Klein—Arman (Armand Fernandez)    

Digital-pigment print, 12"×16"
Photographed at the Philadelphia Museum of Art, 2016


Portrait Relief I: Arman
(Yves Klein, 1962)
Painted bronze body cast
International Klein Blue (IKB)

Ed Mosesi—Joseph Albers    

Digital-pigment print, 12"×16"
Photographed at The Getty Center, 2015

  Albers Study #4, Ed Moses, 1967
Albers Study #1, Ed Moses, 1966

John Baldessari—George Kubler    

Digital-pigment print, 12"×16",
Photographed at Los Angeles County Museum of Art, 2008


Painting for Kubler
(John Baldessari, 1968)

We always may be sure that every man-made thing arises from a problem as a purposeful solution.
A work of art, which is a complex of many stages and levels of crisscrossed intentions, is always intrinsically complicated, however simple its effect may seem.
We are in the presence of a work of art only when it has no preponderant instrumental use, and when its technical and rational foundations are not pre-eminent.
—George Kubler, The Shape of Time   


Honoré Daumie—Nadar    

Digital-pigment print, 12"×16"
Photographed at the Hammer Museum, Los Angeles, 2007


Nadar Raising Photography to the Height of Art, (Honoré Daumier, 1863)
Nadar (Gaspard-Félix Tournachon), photographer and balloonist

Paul Strand + Charles Sheeler    

Digital-pigment print, 12"×16"
Photographed at the Berkeley Art Museum, 2012

Manhatta, a collaboration between photographer Paul Strand and painter Charles Sheeler with excerpts from the writings of Walt Whitman: “Where the city's ceaseless crowd moves on, the live long day.”

Robert Frank—Walker Evans    

Digital-pigment print, 12"×16"
Photographed at the San Francisco Museum of Modern Art, 2010

  Letter from Robert Frank to Walker Evans, 1955

Diego Rivera—Frida Kahlo, Paulette Goddard    

Digital-pigment print, 12"×16"
Photographed at City College of San Francisco, 2006


American Unity Mural
(Diego Rivera, 1940)
Frida Kahlo, Diego Rivera, Paulette Goddard

“Paulette Goddard,” Diego said, “stands for American girlhood.”
"Why," curious reporters demanded, "are you and she holding hands?"
“To promote closer Pan-Americanism,” he replied.

Imogen Cunningham—Frida Kahlo    

Digital-pigment print, 12"×16"
Photographed at the studio of Josh Partridge
and the Imogen Cunningham Trust, 2006

  Portrait of Frida Kahlo
(Imogen Cunningham, 1931)

Carrie Mae Weems—Josephine Baker    

Digital-pigment print, 12"×16"
Photographed at Cantor Arts Center, Stanford University, 2013

  Carrie Mae Weems, Josephine Baker, from “Slow Fade To Black,” 2010

Robert Fichter—Edward Weston (Robert Heinecken)    

Digital-pigment print, 16"×12"
Frames from the film, Whatever Happened to Edward Weston, 2007

  Whatever Happened to Edward Weston
(a film by Robert Fichter, 1972)
Weston played by Robert Heinecken

Robert Heinecken + Joyce Neimanas—Victor Landweber (Harold Jones)    

Digital-pigment print, 16"×12"
Photographed at Landweber's studio, 2006

Posthumous Gift from Robert Heinecken, 2006

The gift was delivered after Robert's death, May 21, 2006. Within the package is a salt shaker labeled "Residual Reality," containing a portion of Heinecken's ashes. My package remains unopened. The Heinecken postage-stamp portrait is by Harold Jones.

Ansel Adams—Victor Landweber    

Digital-pigment print, 16"×12"
Photographed at the home and studio of Ansel Adams, 1973

  A Visit with Ansel Adams
Rejected Moonrises, 1941/1973

While Ansel and his assistants were printing Moonrise, Hernandez, New Mexico, several prints were found to have minor defects and were torn prior to being burned.

Among the kinds of relationships and connections represented in these photographs are:
• Acquisition of one artist’s work by another
• Appropriation of ideas and images of one artist by another
• Art-world schema that names artists and art movements
• An artwork that appears incidentally in the work of another artist
• Caricature of one artist by another
• Colaboration/partnership among artists
• Communities of artists will overlapping members
• Critical response to a work of art as expressed in an artwork
• Dedication of an artwork to another artist
• Gift of an artwork from one artist to another
• Group portrait of several artists
• Homage to one artist by another
• Letter from one artist to another
• Pictographic index to many artists or artworks
• Portrait of one artist by another
• Quotation of text by another artist in an artwork