In 2005, designer and typographer Lisa Wagner, my collaborator on Dear New Girl or Whatever Your Name Is (McSweeneys), introduced me to issue number four of Dan Nadels dream-zine, The Ganzfeld.
For artists, the supposed dreamland art world of the 60s in Lower Manhattan is almost painful to hear about. The idea of working part-time as a security guard at MoMA alongside future bigwigs like Robert Ryman and Dan Flavin and earning enough to pay $20 a month for a live-in loft/studio on the Bowery, while curating exhibitions of your friends work at soon-to-be-legendary galleries and developing cutting-edge artwork in a reality where cubes were conceptually exciting, leaves a lot to be desired from todays New York.
Since the late 1960s, Robert Adams has documented the American West with a consistency and clarity that is rare for photographers. From his influential photography books to his writings, Adams has produced a complex body of work about the land we live in and inspired several generations of photographers.