JAN 31 1990

BRUNO PIERRE JAUBERT
TOPOMIC MUSIC
105, RUE DE NORMANDIE
92400 COURBEVOIE, FRANCE

January 30, 1990

Doctor Henry Kissinger
Kissinger Associates
350 Park Avenue
New York, NY 10022

Dear Dr. Kissinger:

I have enclosed as a gift one of my late mothers, Francoise Nicolas, finest photographs that I thought a man of your position would enjoy.

Having found the negative while in California last week, the work, which was taken in the mid-70's, is truly a moving depiction of that era. Aside from the one in my master portfolio, this is the 2nd print of a limited edition and should you like a larger one, I would be honored to make you one "on the house".

Thank you for your time and enjoy the photograph.

Imagery from many sources

Continued from Front Page

keep emerging and change in
importance, relative to the
state of mind of the viewer.

To build these complex im-
age structures, the film is run
through the camera and ex-
posed three, four five or more
times. One color photograph on
exhibit required 11 exposures.
Each time another element is
added to the growing whole it
must be fitted carefully into
the minute 35 mm film.

"Everything about my pho-
tographs is planned before. I
begin to use the camera."
Mrs. Fried says. "Nothing in
the final image or in the mak-
ing of a photograph is acciden-
tal or unintentional. I use the
technique of multiple exposure
to express definite ideas and
make concrete statements, not
merely to achieve interesting
visual effects."

The purely visual appeal is
there, too, of course, and it
draws the eye into the vortex
of meaningful imagery.

In order to accumulate im-
ages superimposed and side-
by-side through repeated ex-
posures, backgrounds must be

arranged so that there are por-
tions of the film receptive to
later exposures. Each image
must be precisely placed in the
planned composition. Focus
and exposure must be con-
trolled, and it must be fore-
seen, as nearly as possible,
how these many elements will
merge in the final print.

If an exposure is wrong, or
the final effect not right, the
entire process must be re-
peated. In this Mrs. Fried's
photography resembles the
performing arts: It is carried
out as a series of events, each
contributing to the whole.

Her imagery comes from
many sources, and the nude
figure, with symbolism of the
breast, frequently is of central
importance. Faces, figures, ob-
jects, trees and plants, with
landscape or seascape back-
grounds, are photographed
with dramatic variations of
scale and extreme fore-
shortening. They are divided
and multiplied with mirrors
and prisms, blurred, solarized
and treated with a host of pho-
tographic devices. So rich a
vocabulary for expression re-

quires the discipline of con-
trolling ideas.

In one of the simpler com-
positions titled "Columbine," a
sleeping girl lying diagonally
across the picture is fore-
shortened so that her feet are
large and her head small. A
peacock feather is super-
imposed while, dominating all,
a cluster of out-of-focus se-
quins generates red spots that
seem to dance against the blue
background of the sleeper.

Complex or simple, these
photographs concerned with the
human condition express a
sensitive and original mind.

Also in the Bergman Gal-
lery, pottery and ceramic
sculpture by Douglas Broad-
foot call attention to a remark-
able talent that produces novel
forms and textures in raku and
stoneware. A candidate for the
Master of Fine Arts degree,
Broadfoot works under the di-
rection of Ruth Duckworth in
the University of Chicago art
department. The Bergman
Gallery is open 10 a.m. to 5
p.m., Tuesday through Friday,
and noon to 4 p.m. on Satur-
day.

COLUMBIA COLLEGE CHICAGO

FOUNDED 1910 • THE PUBLIC ARTS

540 NORTH LAKE SHORE DRIVE • CHICAGO, ILLINOIS 60611 • PHONE 467-0300

January 18, 1974

Director of Admissions
School of the Art Institute of Chicago
Michigan at Adams
Chicago, Illinois 60603

Dear Sir:

This is to enthusiastically recommend Ms. Françoise Nicolas Fried as a graduate student in Photography!

As Chairman of the Department of Photography at Columbia College, I have watched the coming and goings of more than two thousand photography students. None of them, I think, has matched Françoise in the originality or sophistication of his art.

As her teacher, I can personally attest to the extraordinary energy which she applies to her work, to the infectious enthusiasm and the challenging unique viewpoint which she contributes to her classes, and to the keen intelligence which she brings to bear upon the aesthetic and technical problems which confront her.

Her achievements are doubly impressive when one considers that they have come about despite her obligations as mother and wife.

I consider myself privileged to have worked with her during her early studies in Photography. I know your faculty will derive similar gratification if they have the opportunity to work with her as a graduate student.

JIN/kgS