Witnessing a burgeoning field of writing on photography, and sensing the urgency of increasingly new, pluralistic challenges to accepted canons of response to the medium, the staff and board of directors of the Photographic Resource Center embarked upon a program in 1983 that would provide direct monetary support to writers contributing to the history and criticism of photography. With the generous support of the Reva and David Logan Foundation, the Logan Grants were established. Since this time, monies have been awarded to forty-five writers. An additional seventeen writers have been recognized as finalists or honorable mentions during this period (1983-89). The Photographic Resource Center is committed to providing continued support and recognition for those contributing to the formative literature of photography. At present, the Logan Grant program is the only one of its kind in the U.S. that provides such support. We are indebted to Reva and David Logan for their continued belief in the efficacy of this program.
While one volume alone cannot encompass the many fine essays that have been awarded and recognized in the course of this program, a complete list of recipients and awards to date is presented in the appendix. The fifteen essays that make up this volume have been previously published in the Photographic Resource Center’s VIEWS: The Journal of Photography in New England. Those essays chosen for publication in VIEWS reflect the rankings of independent jurors selected each year. Essays included in this book coincide with these rankings.
Alan Trachtenberg (who served as a co-juror in the first year of the grants) has contributed the introduction to this volume, reflecting on directions and prospects for the histories, theories, and criticism of photography, and categorizing the heterogeneous approaches of the essays brought together here. In so doing, he proposes an open-ended framework for understanding the complexity of issues we face in evolving a literature of photography. We extend our gratitude and sincere thanks to Mr. Trachtenberg for his astute addition to this anthology.
We most emphatically thank all the writers spanning many disciplines who have participated in this program. It is their direct engagement with and contribution to the discourse on photography that has given value and substance to the Logan Grants. In particular, we thank the writers represented in this volume for their permissions and cooperation in bringing these essays together to a larger audience. We also commend and heartily thank the jurors who have contributed their valuable time and expertise to this program each year. To date they include: Andy Grundberg and Alan Trachtenberg (1983), Ben Lifson and Beaumont Newhall (1984), A.D. Coleman and Naomi Rosenblum (1985), Nathan Lyons and Anne Tucker (1986), Vicki Goldberg and Colin Westerbeck (1987), and Thomas Barrow (1988).
Those who have participated in the genesis, administration, and publication of the Reva and David Logan Grants in Support of New Writing on Photography are numerous. The program is the brainchild of Stan Trecker, director of the Photographic Resource Center, and David Logan. Reva and David Logan have been active and important partners throughout. They have demonstrated intelligence, flexibility, and patience in shaping and revising the grants to fit the needs of the field. Their willingness to seek input from jurors, award-winners, and others, and to take risks, has been essential in formulating the best program possible. Their ongoing role should serve as a model for sponsor collaboration. The Logan Grants have been administered by Stan Trecker, Jean Caslin, Brenda Sullivan, Tammy Ricker, and Daniel P. Younger. Editors of VIEWS responsible for the presentation of the essays as they appeared initially in the journal include (listed chronologically): Martin Jukovsky, Susan E. Cohen and William S. Johnson, and Daniel P. Younger. Assistance in the reading and editing of manuscripts over the years has been performed by Cheryl Andonian, Jean Caslin, Timothy Druckrey, Kristen Engberg, Carol Payne, Nancy Rich, Melissa K. Rombout, and Daniel P. Younger. Robin Lee Clark and Robert Seydel served as editorial assistants for Multiple Views, and Carol Payne also served in this capacity in the early months. We thank them both for their important organizational contributions. Jean Caslin participated in preliminary conversations and planning for the book. Floyd Yearout and Henry Horenstein gave valuable advice along the way. We appreciate Thomas Barrow’s support for the idea of this volume, and we thank him for suggesting the University of New Mexico Press for publication. Dana Asbury, editor at UNM Press, has been a pleasure to work with and has provided important advice in shepherding this publication through its various stages. She was generous in accommodating our needs and was insistent when she needed to be in keeping us on schedule.
The publication of Multiple Views has been made possible, in part, by support from the Reva and David Logan Foundation and the National Endowment for the Arts. The Photographic Resource Center expresses its gratitude to them for making this project possible.