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  • St. Basil's Cathedral
    Been There Done That
  • One of the main sponsors of Fotofest's 2012 Biennial, the Garage Center hasushered in a thriving new era of contemporary art in Moscow.
    Photo by Roman Suslov

  • Early estimates indicated that there were 275,000 visits to FotoFest exhibits.Around 10 exhibits at Houston's major museums remain on view.
    Photo by Chinh Phan
  • The Biennial's always-popular opening night party drew an astounding 4,000guests this year — a cool thousand more partiers than the 2010 launch party.
    Photo by Chinh Phan

  • Our Bike Scramble group grew along the way, as cyclists joined in.
    Photo by Whitney Radley
  • Works by Alexander Zemlianichenko Jr. at the Station Museum of Contemporary Art.
    Photo by Vinod Hopson
  • Photographs by Andy Freeberg in the lobby of the Bank of America Center.
    Photo by Whitney Radley

  • Valera and Natasha Cherkashin, from the installation, The Fall of Empire,1994-1997
  • Houston Ballet artists Jun Shuang Huang and Katharine Precourt in Theme andVariation, choreographed by George Balanchine
    Photo by Amitava Sarkar
  • Marsha Drokova with Vladimir Putin
    Putin's Kiss: The Movie
  • Gregory Maiofis, A Taste for Russian Ballet, 2006
  • Valera and Natasha Cherkashin, Kazakstan

  • Mel Chin, The Funk and Wag From A to Z, 2011, a collection of collages, excisedprinted pages from The Universal Standard Encyclopedia, 1954, by Wilfred FunkInc., archival water-based glue and imported artist paper
  • Linarejos Moreno, Cutting and Rebounding of Threads I,II, III, 2010, inkjetprint on hand-crafted burlap
  • Joe Cardella, Contemplation, 2012, inkjet on photo paper and mixed media
  • Celia Alvarez Muñoz, Semajante Personajes/Significant Personalities, 2002-2012,digital holga prints
  • Installation view
    Photo by Timothy Gonzalez/Station Museum of Contemporary Art
  • Alexander Zemlianichenko, Russian Protests, 2011-2012, inkjet on photo paper
    © Associated Press/AP
  • Nazar Yahya, Luminosity, 2011, mixed media on Chinese paperon canvasNazar Yahya, Features of the Hand, 2011, inkjet digital pigmenton fine art paperNazar Yahya, The Witness, 2011, mixed media on Chinese paper on canvas(triptych)

  • Danny Lyon, SNCC Workers Outside Funeral, The Menil Collection, Houston
    Photo by © 2012 Danny Lyon/Magnum Photos
  • Danny Lyon, Crossing the Ohio, Louisville 1966, The Menil Collection, Houston,gift of Kenneth G. Futter
    Photo by © 2012 Danny Lyon/Magnum Photos
  • Danny Lyon, Clarksdale, Mississippi Police, The Menil Collection, Houston, giftof Edmund Carpenter and Adelaide de Menil
    Photo by © 2012 Danny Lyon/Magnum Photos
  • Danny Lyon, Walls Unit Yard (Raymond Jackson, robbery), The Menil Collection,Houston, gift of Edmund Carpenter and Adelaide de Menil
    Photo by © 2012 Danny Lyon/Magnum Photos
  • Danny Lyon, Rachel in Texas (Robert Frank, Wavy Gravy, Paula Cooper, DannySeymour) 1969
    Photo by © 2012 Danny Lyon/Magnum Photos

  • Marina Zurkow, Still from Mesocosm (Wink, TX), 2012, software-driven animation,color and sound, ongoing computer generated
  • Marina Zurkow, Still from Mesocosm (Wink, TX), 2012, software-driven animation,color and sound, ongoing computer generated
  • Marina Zurkow, The Petroleum Manga, 2012, 50 banners, solvent ink on Tyvek,commissioned by DiverseWorks
    Photo by Mark Francis
  • Marina Zurkow, Mesocosm (Wink, Texas), 2012, color, animation and sound,software-driven animation in a 146-hour year-long cycle (never repeats),commissioned by DiverseWorks
    Photo by Mark Francis
  • Marina Zurkow, HazMat Suits for Children, 2012, Tychem® TK fabric, acrylic ,Velcro, rubber and mannekin with fabrication by Lara Grant; Tychem® TK fabriccourtesy of DuPont
    Photo by Mark Francis

  • Robb Kendrick in front of his Tom Stretch Bowerman, XI Ranch, Texas, archivalpigment print
    Photo by Katie Oxford
  • Robb Kendrick, Colter Schlosser - Gang Ranch, British Columbia, Canada, archivalpigment print
    Photo by Katie Oxford
  • In foreground, Robb Kendrick's Chet Bartlett, Rhoads Ranch, Nevada, archivalpigment print
    Photo by Katie Oxford
  • Barbara Ginn and Robb Kendrick at the opening reception
    Photo by Katie Oxford
  • Hunter George, from left, Carol George, Jeannie Ralston, Kendrick's wife, andRobb Kendrick at the opening reception at William Reaves Fine Art Gallery
    Photo by Katie Oxford
  • Robb and Jeannie's boys, Gus and Jeb, at the opening reception
    Photo by Katie Oxford
  • Bill Reaves, left, and Brian Hoffner with Hoffner's new tintype purchase, DaveyTowse, Bill Perez, Bruce Ryan, Lacey Livestock, California
    Photo by Katie Oxford

  • Carolyn Farb poses with Oleg DOU's Katya's Tears, which sold for $17,000.
    Photo by © Michelle Watson/CatchLightGroup.com
  • Bidders enjoyed a lively evening with more than 80 photographic prints byartists from around the world.
    Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Auctioneer Madeline Brophy
    Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • The evening started with a series of prints by Russian artists featured in theFotoFest Bienniel's main exhibits.
    Photo by © Michelle Watson/CatchLightGroup.com
  • Flipping through the auction catalog.
    Photo by © Michelle Watson/CatchLightGroup.com
  • Business time.
    Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com

  • Snapshot fo Sergey Bratkov's 1991 installation, Being Devoured by Each Other.
    Photo by Tyler Rudick
  • Curators Evgeny Berezner and Irina Chmyreva with a group of reporters from theinternational press.
    Photo by Tyler Rudick
  • Gregory Maiofis, Politics Makes Strange Bedfellows, 200s, bromoil print.Courtesy of the artist.
  • Berezner leads the way.
    Photo by Tyler Rudick
  • Chmyreva and reporters on the second floor galleries of Spring Street Studios.
    Photo by Tyler Rudick
  • Alexey Shulsin's two Rotating Landscapes from 1991 are set to mechanicallyvibrate on the gallery wall, creating an illusion similar to that of watchinghandheld video footage.
    Photo by Tyler Rudick
  • Anton Belov, director of Moscow's Garage Center of Contemporary Culture, answersquestions from journalists.
    Photo by Tyler Rudick
  • Irina Chmyreva discusses Vladmir Kupriyanov's Cast Me Not (Away) from YourPresence from 1990.
    Photo by Tyler Rudick
  • Valera and Natasha Cherkashin, Mirages of the Soviet Empire, 1997; installationwith silver gelatin prints, newspaper, and watercolors. Courtesy of the artists.

  • Photo by Chinh Phan
  • The large crowd got into the spirit of he opening with some heavy dancing tosoul music.
    Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan
  • Anton Belov, far left, and a group of Russian artists and writers attended theopening.
    Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan
  • Photo by Chinh Phan

  • John Waters
    Photo by Tyler Rudick
  • John Waters, Pet, 2009, C-print, Edition 4/5
  • John Waters, La Mer, 2009, Styrofoam, urethane, plaster and latex, Edition 5/5,signed and titled in ink: "La Mer" John Waters
  • John Waters, Neurotic, 2009, four C-prints, Edition 3/5
  • John Waters, Plus, 1996, two C-prints, Edition 4/5
  • John Waters, Bad Directors Chair, 2006, canvas, wood, steel and paint withleather bound script, Edition 1/5 signed, titled and numbered in ink (underfootrest): "Bad Director’s Chair 1/5, J. Waters"
  • John Waters, Visit Marfa, 2003, offset print, Edition 40/100

  • FotoFest 1992 Biennial at the George R. Brown Convention Center
  • Fred Baldwin and Wendy Watriss editing slides in their home dark-room in 1981,soon after their arrival in Houston
  • FotoFest co-founders Fred Baldwin and Wendy Watriss installing an exhibitionduring the first FotoFest in 1986
  • Fred Baldwin in China for the FotoFest Meeting Place Beijing 2007
  • In 1994 at the George R. Brown Convention Center, FotoFest staged the firstpublic exhibition in decades of the “first photograph” by Niecephore Niepce. Thepiece was transported from the Ransom Center in Austin in an armored car and wasaccompanied by armed guards.
  • Wendy Watriss and master Czech photographer Pavel Banka in 2004
  • Wendy Watriss, Vietnam Veterans Memorial, Washington, D.C., 1983-1986, silvergelatin print
    Photo by Wendy Watriss
  • While photographing rural Texas counties for their book, Fred Baldwin and WendyWatriss lived in a small trailer towed by Fred’s Mercedes convertible and parkedoften in an obliging farmer’s pasture, 1971-1972. Here, they parked along sidethe road in rural Grimes County, Texas.

  • Dziga Vertov, Man with a Movie Camera, 1929, frame from the film; screeningApril 15 at 3 p.m. and 5 p.m. at the Glassell School's Freed Auditorium.
    Movie still by Dziga Vertov
  • A 1979 piece by Sergey Vasiliev from Soviet Winners of World Press Photo,1956–91 on view Houston Community College, Central Art Gallery.
  • The 2010 documentary Desert of Forbidden Art will be showing at the RussianCultural Center on April 8 at 7:30 p.m.
    The Desert of Forbidden Art
  • Valera and Natasha Cherkashin, from the installation The Fall of Empire,1994-1997; on view in FotoFest's exhibit Perestroika, Liberalization andExperimentation at the Winter and Summer Street Studios.
  • Vladimir Lagrange, The Alphabet of the Deaf, c. 1960; on view in the FotoFestexhibition After Stalin, The Thaw, The Re-emergence of the Personal Voice atWilliams Tower.

45 days and more than 100 exhibits

Where to start and what to see: How to tackle FotoFest 2012 Biennial