So there's 112 copies on the table right now.
I know it looks like a lot, but...
It's better than 200.
Yes, yes.
So I think we'll see how we go, how it goes.
Okay.
Umm
So this is Liv, our intern from Publications.
Hi, nice to meet you.
Hi.
So I think she's gonna help, basically...
With the passing.
Yes, passing the books to you.
So what I'm gonna sign is the half-title page.
Which is this page here.
That first one? Okay.
So what more do they have to do here?
What more?
Well, they have, I think, first, to see if this is also good.
And then I think they have to first remove the mats in order to place the numbers.
And then bring back the mats...
And what holds this against the picture?
This is where they're going to put some double, double tape, etc., so it's going to be flat.
That's also one of the...
Right.
So the tape will be behind this?
Yeah, yeah. Absolutely.
Okay.
That was, in fact, one of the...
This has to be completely flat.
Yeah.
That's one of the...
[laughs]
issues of having such a long case
is to keep the overmat flat.
When I was asking you about what do you do
how do you put corners on a picture that's ragged
I was actually thinking of Joe a la Hollywood.
And what did they?
what did they do in the end?
They put something along the bottom.
Oh, yes.
And did you see what they did for the...
The Muybridge?
In general, what kind of light do you prefer?
Do you prefer kind of overall...
or do you prefer something that would be more focused
on the prints and objects?
Umm.
I think this is slightly different...
These two will be...
Well, in fact, these three will probably be treated differently because of the natural
light coming in.
And something that will be maybe more classic and intimate in the first part of the exhibition
and probably more, maybe, focused on some walls.
It's just something I've had no experience with.
Well, you did many shows.
But I never was asked about lighting.
I think we're pretty good.
Of course, they need to fix it, etc.
But I don't think that that will be that different.
Here, in terms of light levels, I don't know where we are, and this is something also
we must check with LeeAnn.
So what do we do, Stephen?
Do we remove the other picture or do we keep it a little bit tighter?
One option would be...
Where the tightness seems most noticeable is this space to the corner.
So if you were to move that one and this over, like that...
Or we could take it out.
So that's one possibility.
Let's try to take it out and see how it looks.
Okay, let's bring it back.
What are these for?
The other material that we have, the cameras, the books.
Okay.
Oh, right.
So the big boxes are probably for the cameras.
These are for the...
For some books, magazines, placemats.
And where are they gonna go?
They are going to go...
Each time there's a small text, there's a case, an object...
I see.
...that is connected to it.
So, Kristen, what was Peter saying about the Ukraine and the double-sided frames
...that he thought that?
I think they're coming back today
and then they will fit them...
But we're gonna get the two remaining walnut frames today.
After lunch we can do those.
Maybe we could have one bench here.
That's a possibility.
We could put one here and one in front of the photographs… if they make us have two.
Yes.
I don't think we should have anything here.
I think it would be bizarre, sort of strange to have the...
It would be strange to have a bench and to have...
It started over.
Yeah.
It's cool.
Each one has 10, and they're different.
For my sixth birthday, I had an uncle who knew I was interested in chemistry
and thought I would like darkroom work.
So he got me a Kodak darkroom set that had trays and developing tank and chemistry
and an instruction book.
In the late '60s, I wound up with a bunch of friends in New York who are all from Amarillo, Texas
and in the summers, they would go back.
And in, I guess, '69, started going to Amarillo with them
and saw a part of the country
that was completely unfamiliar to me.
I knew the coastal cities, but nothing in the middle, and I loved hanging out there.
I'd spend the summers there and wanted to explore it more.
And so decided to start exploring the country, and that's how the road trips began.
I was interested in vernacular uses of photography, and out of that interest came the show that's
recreated here, "All the Meat You Can Eat," which was from my collection and the collection
of two other friends.
And the postcard, "Amarillo" postcards, which were also shown here.
And so I was interested in how photography was used in our culture and what it meant
in our culture.
And so that's why this varied collection became "All the Meat You Can Eat" and why I produced
my own set of postcards, but I was also interested in snapshots.
I like snapshots because although they have their own visual conventions, there are occasionally
snapshots that are free of convention and have a life and spontaneity that's really
wonderful, and I wanted to refer to that.
Five of them probably mine.
But this was this show at the Smithsonian, an American Bicentennial show, in '76 on American
architecture.
Come on, let me take a picture of you.
I'm not gonna put it yet...
[Laughs]
Because I don't want to give up yet any surprises.
Oh, I have to put my Yankee hat on.
Yes.
Okay, I'm gonna go.
Ginger's waiting.
Have fun.
We're gonna go off together.
Nice work.
I'll see you Wednesday and Thursday?
I'll see you Wednesday.