._.:s; Ev;
ln an article "The Strange New ,
iii World of Ralph Eugene Meat-  
yard" (Popular Photographer, J , J
_, July l969l, Jim Baker Hall Q l
f   ’57 says, "Being photographed by V
Y     Meatyard is a telling experience. l
 L Having one’s picture taken is J
an ordeal for most of us, we’re
plunged face·first into our ‘
‘ vanities, awkwardnesses, pre- I =
sumptions. lt takes a deep  
grace to be mindful of  
what’s going on and not bug `  
Out . . . l
"He’s done some portraits (John Y `
Jacob Niles, Thomas Merton, ,
Wendell Berry, Louis Zukcfsl-ay, . l
Guy Davenporti, but in most . l ·
of his pictures he ignores i
mmmp individuality, even works to ob- l
Urmu scure it Suddenly you’re  
l`lii··iiius *'¤"5*O'”"€d. Y@¤"'€ lU$l OVW  
,,,,w,ii_ man passing through, and with i
Yiiiiiigl that you come soaring up out  
ti; llii. of the crowded bargain basement  
of your personality like some-  
thing iust set miraculously  
free.  
_  J "The camera, we’re often told,   `
` is tied to an objective, l ’
1 ’rea|istic’ view of the world, to the l
  surface look of things. Yet  
1/ A here is a photographer——no _ »
ig = imitation painter or displaced i
`_ poet——who is essentially . .
EQ), subjective and 'expressionisticf ‘
- ·*’ His pictures don’t represent the i
  world we see with our eyes—— , 5
'   they present us with a new one, l _ `
Ȣ a collaboration between Gene l .
Meatyard and camera. His g
images are the only way to say S
~ what they say."
His prints are in several museums, { .
, . including The Metropolitan l °
l Museum of Art and the Museum l »
rf [(1,,,,;,, of Modern Art in New York [ J
U,m,,,,tgii City, and various university
,4,,,,.,,,iw collections. He is widely ”
litiimis D. l exhibited. V »
lluiiitlicll
l T?
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