This is the earliest image here. It was taken while I was still in school in 1982. It was included in the Dallas Museum of Art collection in 1999.

Dallas Museum of Art Collection

This photo was taken in New York during the aftermath of the 1985 Macy's Thanksgiving Day Parade.

New York, 1985 Carnegie Museum of Art and San Francisco Museum of Modern Art Collections

The Grooming Parlor This was, and remains, one of my favorite experiences. I decided to document a grooming parlor from the point of view of the animals. These pets were taken from their posh, comfortable homes, put into an alien environment, dunked in water, put on a table and groomed. Though they were treated well, it must have seemed a harrowing event. This project was the first in which the influence of surrealism was a key aspect. I showed the Grooming Parlor work to John Caldwell, then curator of Contemporary Art at the Carnegie Museum of Art in Pittsburgh. He encouraged me to pursue a book project on "animals in human environments". The Grooming Parlor work, as well as the following essays, were done to that end.

Cat Bath, 1984 Corcoran Gallery Permanent Collection

Pets The first and most obvious place to start was on the street, where I was most comfortable anyway.

Time Expired, 1987 San Francisco Museum of Modern Art Permanent Collection Harvey Keitel Private Collection

Soviet Union, 1986 Pittsburgh Donetsk Exchange Project

The Vet My local veterinarian, after hearing of my project, allowed me access to his offices and - even better - to surgery. This image was taken of a cat prepared for spaying. This is how it is typically done in order to prevent accidentally harming the animal. Anxious to have my work published, I sent it to a local university press. The editors wrote their comments regarding my work, which were later sent to me. My favorite one goes as follows: "These photographs leave me with a feeling of loathing; not toward the zoo keeper or the groomer or the veterinarian, but towards the photographer." John Caldwell, former Curator of Painting and Sculpture at the San Francisco Museum of Modern Art, called this comment a "testimonial."

San Francisco Museum of Modern Art Collection Corcoran Gallery Permanent Collection

The Zoo In 1989 I contacted Charles Wikenhauser, then Director of the Pittsburgh Zoo. He graciously permitted me access to their facility. This image was taken when veterinarians at the Pittsburgh Zoo were performing annual examinations on monkeys there. This howler monkey was anesthetized and was undergoing tests when I discovered its eyes were open. I intentionally photographed it from this point of view. I still find it somewhat haunting. This photograph was purchased in 1990 by actor Harvey Keitel.

Annual Monkey Exam, 1989 Harvey Keitel Private Collection

The Museum of Natural History In 1993, funded by a state grant, I decided to photograph animals in human environments a very different way. Following a suggestion by New York photographer Harvey Stein, I contacted the Carnegie Museum of Natural History. They have one of the largest collections of animals in North America. I documented the naturalists at work in the departments of Birds, Reptiles, Vertebrate Paleontology and Entomology. Once again, I was generously granted access to every department. Research done by the scientists at the Carnegie led to, among other things, the elimination of the pesticide DDT.

This photograph accomplishes one of the elements I love most in photography: the ability to show beauty and at the same time create a sense of unease.

Corcoran Gallery Permanent Collection

Taxidermy I contacted three area taxidermists in 1993. For a surrealist, this was by far the most amazing project. Everywhere I looked was a photograph. Surrealism in photography, unless done digitally or with use of darkroom trickery, is done by juxtaposing unrelated objects in the same frame without providing an explanation, or by isolating an object from its normal background. I don't arrange the subjects in my photographs. I much prefer to happen upon interesting juxtapositions. In the case of my Taxidermy project, everywhere I looked was a photo. It was as though the taxidermists arranged them for me.

The State Museum of Pennsylvania Collection

Peregrine Falcons There is a mating pair of Peregrine falcons at the top of Pittsburgh’s Gulf Tower. Every year the Game Commission bands the legs of the young birds. I had the opportunity to photograph that event in 1996. Peregrine falcons are the fastest diving birds in the world. That, combined with the fact that they’re birds of prey, made for the most exciting fifteen minutes I’ve experienced.

Carnegie Museum of Natural History Section of Mammals In 2002, ten years after I photographed the Carnegie Museum of Natural History, I once again was granted access. This time, I documented the Department of Mammals. I started by shooting both black and white and digital. I soon realized that I was printing mostly the digital work and that is what I stayed with. As with the former Carnegie project and the Taxidermy work, I was permitted complete access. The only restriction imposed was that I was not to exhibit images of endangered species. I'm thankful to Dr. John Wible and Sue McLaren for both their interest and open-mindedness.

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A Tribute In 1993, John Caldwell, then Curator of Painting and Sculpture at the San Francisco Museum of Modern Art, came to my rescue and invited me to stay at his apartment when my other plans fell through. This is the last photograph of him that I had the opportunity to take before his death. As with Henri Cartier-Bresson, I owe John a great debt. He believed in me before I did.

Carnegie Museum of Art, Dallas Museum of Art and San Francisco Museum of Modern Art Collections Corcoran Gallery Permanent Collection

Entropy

This project, done with a partner, Dr. Ev Vogeley, is an exploration of the concept of entropy. Entropy is a term applied to the measure of disorder that develops in systems when additional energy is not applied. The intention is to explore this idea as it applies to our neighborhoods. Our photographs express the notion that entropy and disorganization afflict human communities when there is not an ongoing infusion of energy in the form of money and commitment. The Entropy project differs in two ways from my previous work. First, it is the first color project I've done. Second, the technique used is digital. Photographs are in both 35mm and digital cameras. The film is scanned, and all prints are on ink jet photo paper. Dr. Vogeley died in December of 2006. This project remains in progress as a tribute to my friend and colleague.

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