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IMAGINE THE YEARS, WHICH I HAVE PASSED between these pictures and now. Here I am, graying, experienced, with hope and strain and some fame; with the Octopus, it’s social tentacles flailing around themselves; the adult that I am, as convoluted as any adult is…through long streets of gain and short bursts of pain. How many cows can one milk in a day?

The day before the day I entered the world of these pictures I was a milk-fed boy of left wing but bourgeois parents in a wholly unique yet unholy America. A boy who wanted to be consequent but was driven by both innocence and blinding anger… This anger got in the way of my ambition, which was placed in me by my mother, to lead the socialist revolution in the USA.

As is often does, the first time I smoked pot took my life from those airy concepts and grounded me in pleasure and the oblique aura of timelessness. And it often happens. I stumble from endeavor to clever hipness, from a milk-faced ardor to a grisly, existential groove… But then there was this…

…A fact… my developing identity was ensnarled with the camera, its natural power to encode and communicate that which was sin front of me and that which was within me. After all, through the Rolloflex that my good daddy gave me, I could conquer or at least encapsulate the world with clumsy splendor. Plus, some thought that because I was a young photographer I could be useful.

These second generation beats did not like me much. They were more crazed, more depressed, more engaged with their sense within quasi-history; destined to be holy sphincters on the horizon, to be representative of the spiritual search, to be using drugs of all kinds in order to enter the universe and another level of personal consciousness... And then there was me...a Marxist. Yes, of course I smoked pot. But did I know the deep ways the, the inner turmoil of the dense jungle of the convoluted mind?

After all, a Marxist from Long Island could hold no such grasp on the deep Dharma of let's pretend and the suffering that went along with the task. But I was a photographer and I was Useful. These second generation Beats had considerable less talent than their predecessors but considerably more need for infamy; since in a manner of speaking, they were imposters...(perhaps by living in the shadow of origin they were a precursor for the cynical post modern lack of emotional inertia. If all has been seen and done there can be no faith in any realized future...)

They desperately needed a photographer to be with them, to give them gravity, to live within them, record and encode their wary but benighted existence. Since I was drawn to them by the fact of drugs, my own feeble hipness, my confusion, my anger, not to mention my rebellion against my parents and the fact that I had failed to go to college – I was designated to be of them, Marxism notwithstanding, I was called to service, to be on the road, on the way to Mexico and then wherever and what else...

Exhibition of photographs by the highly acclaimed American photographer, Larry Fink. The exhibition is organized as part of the Athens Photo Festival 09 and in cooperation with the Hellenic Center for Photography...

Every Moment Counts includes black and white photographs from Fink´s series, Beatniks and Moses Soyer´s Studio as well as Boxing and Somewhere there’s music. The exhibition also features photos from his recent work The Democrats, shot during Barack Obama´s and Hilary Clinton´s electoral campaigns.

Born in Brooklyn in 1941, Larry Fink was urged by his mentor, photographer Lisette Model, to find his own photographic style, which often reminds one of Diane Arbus. His work which depicts scenes and gestures of everyday life as well as official events and working-class get-togethers, is strongly influenced by the photographs of Bresson, Brassai, and Kertesz as well as paintings by Georg Grosz and Otto Dix.

Visit the Hellenic Centre for Photography for more information.

Drawn from the Gallery’s permanent collection, this exhibition looks at ways artists have approached the human body as a site in which identity is shaped and a register of our inescapable progression toward mortality. Featered are works by Larry Fink, Liz Magor, Mina Totino, Patrick Traer and Theodore Wan, among others.

Visit the Vancouver Art Gallery for more information.

A new book called Night at the Met of Larry’s images from the Gala at the Temple of Dendur is available for purchase. A joint effort between Blurb, Fotovision, and Larry, this book contains images from Larry’s instantaneous exhibition at the Temple of Dendur. A projector was set up with a slide show of Larry’s early images to open the party. As the night went on, and Larry made pictures, they were loaded onto a laptop and displayed through the projector thus displaying moments that seemed to have just ended. A unique experience seen in a unique way through the eyes of Larry Fink.

Two versions of the book are available. There is a trade edition available at Blurb.com in hard-bound or softback. Also, there is a limited edition version available from Fotovision which includes a print (choice between one of two). For more information about the limited edition version and current prices, check out Fotovision.