ARDEX Quality and Innovation Leadership Founded in 1949, ARDEX is the global quality and innovation leader for specialty building products including construction materials for tile and stone installation, subfloor preparation, toppings and concrete restoration, designer walls and floors, wall preparation and smoothing, flooring adhesives and waterproofing. ARDEX is a family-owned business with a focus on a strong uncompromising product quality, International Projects & International Projects & unmatched service, in-depth training and expert technical support. Specification Services Specification Services Headquartered in Witten, Germany and with 36 subsidiaries, ARDEX has representation in more than 50 countries. This structure ensures consistent quality and maximum responsiveness to local Specialty Building Product Solutions for market needs. International Architectural & Design Specifications ARDEX products unfailingly meet the needs of our customers, as well as those of individual market segments. ARDEX customers acquire a promise of outstanding performance and expert support on building sites around the world resulting in strong, trustworthy global partnerships. Las Vegas City Center / Las Vegas, NV USA Burj Khalifa / Dubai, UAE Commitment to Environmental Sustainability As we develop new products and technologies, our Research and Development teams are focused on developing new formulas that reduce the ecological footprint of our products by consuming fewer natural resources, making use of recycled materials and other IPSS Covering the World improvements with a positive environmental impact. The International Projects and Specification Services Program (IPSS) assists architects with international project specifications in any part of the world. The ARDEX IPSS team consists of representatives from ARDEX companies strategically located around the globe. International construction practices and projects require different products based on location, environment and application type. The ARDEX IPSS Team provides specification assistance to architects matching the correct ARDEX products and solutions required to ensure a successful installation regardless of location. The ARDEX IPSS Representatives interface with the local ARDEX Representatives from the location where a project resides to provide technical jobsite support, training and recommendations. For example, an IPSS Representative can assist an architect based in the United Kingdom with a project they have in Dubai. The Each of our manufacturing facilities is focused on sustainable For inquiries, please contact ARDEX Representative based in Dubai will work directly with local contractors in conjunction with the IPSS Representative on the IPSS Benefits development initiatives. New energy saving technologies and processes IPSS@ardexamericas.com designed to reduce consumption of energy and natural resources have project to make sure all specification expectations are met. • International Product Selection Assistance been implemented. Plant and facility managers continue to research ARDEX Technical Service Team and local representatives assist new ways of remaining environmentally responsible. with the proper documentation and recommendations to ensure • International Warranty Program ARDEX products meet the building standards and codes for • Installer Recommendations and Support The ARDEX IPSS team assists architects by providing materials and the various countries. information they need for their environmental and sustainable design • Specification Assistance projects internationally. ARDEX provides required documentation needed ARDEX also provides architectural and engineering professionals to meet the regulations and standards for each individual country. with ARDEX product and installation warranties (where applicable). IPSS Project Reference List Kuala Lumpur, Malaysia Macau, China Seoul, Korea Universiti Kebangsaan Malaysia Medical Center The Venetian Macau, Casino Resort Hotel Kumho Asiana Headquarter Building Designed to assist architects, designers and engineers with ARDEX A 35 ARDEX CL 11, CL 11 B ARDEX FG 8 7000 m² 10,000 m² 5000 m² International Project Specifications in any part of the world. Las Vegas, NV United States Malacca, Malaysia Cheongnyangni Urban Railway Station PANDOMO Wall Las Vegas City Center Hospital Alor Gajah 1000 m² ARDEX LU 100, K 15®, Feather Finish® ARDEX K 250 Bangalore, India Dubai, United Arab Emirates Ft. Lauderdale, FL United States 1,560,500 m² 9000 m² Shenzhen, China Golf Shire Prestige Bur Juman Shopping Mall Trump Tower Limoges, France Middlesex, United Kingdom Shenzhen Stadium ARDEX WMP 300, WPM 310 ARDEX EB 2, WPC, S7, X 77, FL, ARDEX K 15®, V 1200, 8+9 ARDEX K 320 WA, EG 8 Grouts Musée de la Porcelaine Adrien Dubouché Heathrow Airport Terminal 1 5000 m² 52,300 m2 19,500 m² 14,000 m² PANDOMO® FloorPlus ARDEX K 11, ARDITEX NA and AF 2300 Bangrak, Bangkok Glasgow, Scotland 2000 m² 40,000 m² Sydney, Australia Dubai Mall Royal Orchard Sheraton Hotel and Towers ARDEX A 35, S 16, MG Grout, K 15, P 51, BBC Scotland London, United Kingdom Mumbai, India Sydney Opera House ARDEX F5 ARDEX S 20, FLEX FL Grout ARDEX X 77, E 90, Multiprime, Abacrete Bonding Agent, R3E, EP 2000 King’s Cross Station Mumbai International Airport Abapoxy Adhesive and Grout, SE 23,600 m² 200,000 m² 1500 m² ARDEX A 35, S 21 and FLEX FL Grout ARDEX WPM 300, WPM 002 600 m² Beijing, China Burj Khalifa Guangzhou, China 4300 m² 13,000 m² ARDEX ARDITEX NA Taiwan Shangri-La Hotel, Spa 60,000 m² IKEA Royal Albert Hall Pittsburgh, PA United States ARDEX AM 100, WPM 300, ARDEX Polyurethane Leveling ARDEX NA and AF 2300 First Cosmetic Works Linko Office CONSOL Energy Center PANDOMO Floor WPM 006, STS 8, E90, ST, WA Dublin, Ireland 4500 m² 2000 m² ARDEX Feather Finish and 1500 m² 500 m² London Olympics Aquatic Center St. Vincent Hospital Ho Chi Minh City, Vietnam HENRY® Flooring Adhesives FuShing Group Taipei Head Office Cambridge, United Kingdom ARDEX K 11, EWC, K 301, EB 2 ARDEX EB 2, WPC, S7, X 77, FL, WA, 22,848 m² Intel Project @ Saigon Hi-Tech Park EG 8 Grouts PANDOMO Floor and FloorPlus 26,000 m2 Cambridge Regional College ARDEX WPM 300, P 82 and K 005 14,000 m² Queensland, Australia 1200 m² ARDEX K 15-HB, X 78 S, FLEX FL Grout Dublin Airport Terminal 2 45,000 m² ARDEX X 7G, S 20, C2, X 7R, M&S Westfields (Olympic Site) Noosa Springs Day Spa China 2000 m² EWC, RS Plus Latex, K 15, A 35 Hong Kong, China ARDEX DPM-1C, K 11, S 38 FLEX FL Grout ARDEX WPM 265, WPM 300, WPM 002, MNG Stores (30 stores) Charlottenlund, Denmark 75,000 m2 14,500 m² STS 8, Abapoxy Adhesive and Grout PANDOMO Wall The Mandarin Oriental Hotel 1500 m² Savoy Hotel 40-500 m² The Ordrupgaard Museum Dusseldorf, Germany ARDEX CL 11, DS 40, FB 9 L, WPM 006 ARDEX EP 2000, K 15 3000 m² ARDEX A 35, 7001, S 16, FLEX FL Grout Radzy Podlaski, Poland Villers sur Mer, France 1150 m2 Sky Office Building 2000 m² PANDOMO TerrazzoMicro Swire Pacific Festival Walk Shopping Mall Regional Court Musée « Paléospace l’Odyssée » Chrzanów, Poland 1300 m² ARDEX S 16, MG, A 35 Los Angeles, CA United States PANDOMO TerrazzoMicro PANDOMO FloorPlus 20,000 m² 3500m² 800 m² Renaissance Sports Club Public Library Erstein, France PANDOMO® Loft Kaohsiung, Taiwan ARDEX SD-T® Decorative Concrete Rouen, France Warszawa, Poland 500 m2 Wurth Art Museum 750 m² PANDOMO Floor Kaohsiung Rapid Transit Centre de congrès et d’exposition H2O Adidas Shop Daegu, Korea 1600 m² ARDEX STS 8, E90 Lynge, Denmark PANDOMO FloorPlus PANDOMO Floor 630 m² 480 m² 330 m² Widex A/S Headquarters Lotte Outlets, Yulha Essen, Germany ARDEX X 77 Katowice, Poland ARDEX K 14, K 22, A 31, P 51, EP 2000 Santa Ana, CA United States Washington, D.C. United States 6000 m² Folkwang Museum 12,000 m² PANDOMO TerrazzoBasic District Court Skyline Condominiums at MacArthur Place Liberty Square, U.S. Gov. Office Building 6500 m² PANDOMO Floor ARDEX K 15 and Feather Finish ARDEX V 1200 7000 m² 14,000 m² 40,400 m² Art Gallery ARDEX K 80 1600 m² AB190 (08/12) London Olympics Aquatic Center / London, UKIPSS Logo and Brochure RedesignThe redesign of an existing logo and brochure for line of business for ARDEX. This brochure is seenthe International Projects & Specification Services worldwide by high-end architects.
08.18 2011 07.01 2011 06.23 2011Sigmund Stern Grove 19th Avenue & Sloat Boulevard San Francisco, CA Sigmund Stern Grove 19th Avenue & Sloat Boulevard San Francisco, CA Sigmund Stern Grove 19th Avenue & Sloat Boulevard San Francisco, CA free concerts & events Sundays @ 2pm free concerts & events Sundays @ 2pm free concerts & events Sundays @ 2pm Stern Grove Festival June 23 to August 25, 2011 Stern Grove Festival June 23 to August 25, 2011 Stern Grove Festival June 23 to August 25, 2011 74th Season 74th Season 74th Season Kenny Barron’s Canta Brasil Rennie Harris Puremovement Michelle Shocked Enjoy an afternoon of jazz in the Grove with the scintillating Be sure to catch this electrifying performance! Founded Kick off the season with singer/songwriter Michelle samba rhythms of Kenny Barron’s Canta Brasil. A seven-time by artistic director and choreographer, Rennie Harris, Shocked, an innovative voice in American folk-rock music. With Grammy-nominee, Barron is one of the premier pianists in Puremovement explores the roots of hip-hop dance, offering a variety of influences—from blues, gospel, big-band swing, mainstream jazz. The performance is a collaborative exploration gravity-defying, dazzling adaptations of traditional and bluegrass, country, and folk to post-modern punk—her music of Brazilian jazz featuring Barron, Trio da Paz and flutist modern dance forms. This performance focuses on defies description and explores a wide range of Anne Drummond. the diverse styles and storied evolution of hip-hop dance human emotion and experience. and is narrated by Rennie Harris. Simon Shaheen Quetzal Pre-Concert Talk, Trocadero Clubhouse at 12pm Simon Shaheen opens the show with a melodic blend of Afro-Chicano band Quetzal opens the show with a mesmerizing Sponsored by The Villas at Park Merced traditional Arabic, jazz, Western classical and Latin music. An combination of traditional Mexican roots music, rock, inter-nationally acclaimed Arabic lute and violin player, Shaheen folk, and Afro-Caribbean influences. is the recipient of the National Heritage Award and has Sponsored by KPFA 94.1 Radio performed at venues around the world. Sponsored by Jazz91 Radio sterngrove.org 415.252.6252 firstname.lastname@example.org sterngrove.org 415.252.6252 email@example.com sterngrove.org 415.252.6252 firstname.lastname@example.org Stern Grove This project was for the Stern Grove festival in to create a postcard series for each performer while San Francisco, California. The requirements were only using typographical treatments.
Counter top display and take away card 2012-13 InstallerFront Back Video Contest You know FEATHER FINISH® is that smooth. Now tell us why! • Are you a loyal installer who knows it just works? • Are you a contractor who trusts its performance? • Is the job you installed 20 years ago still standing? • Have you devised an ingenious use for this amazing product? Come on! You could win prizes You know you love ARDEX FEATHER FINISH® in 3 easy steps! Tell us why and you could win a $2,500 vacation getaway, FEATHER FINISH® $500 gift cards for gas - and more! It’s that Record up to 3 minutes of video with a camera Trowels, t-shirts Video Criteria: Your original video can be about: smooth. ™ or smart phone. and more • An installation where FEATHER FINISH® was installed years ago and still is standing (because we know it is time tested) Upload video via your computer to $500 gift cards • Your own personal testimonial (because we know installers LOVE FEATHER FINISH®) www.ardexfeatherfinish.com for gas, tools, etc. • About an “unusual and probably unauthorized and non-warranted” use for FEATHER FINISH® that you have discovered. (We hear stories Tell friends and family about what you have done with this product!) to vote for your video! $2500 Vacation All you have to do is create a short video of you Getaway! or your friends and FEATHER FINISH® and post it here: www.ardexfeatherfinish.com It’s that smooth. FINE PRINT: All entries become the property of ARDEX. ARDEX reserves ™ the right not to publish a video. See www.ardexamericas.com www.ardexfeatherfinish.com for full details. ARDEX Feather Finish Product Campaign - Video Contest Materials - www.ardexfeatherfinish.com As the creative team lead on this multi-year product by targeting the installers. The aim was to catch attention and spark loyalty among the campaign I helped to create awareness of the use exciting, provocative and creative ideas to current users and the sales force.
Trade Magazine Ads FEATHER FINISH® FEATHER FINISH® As smooth as your Way smoother thanPromotional Material morning coffee... this guy...T-Shirt Illustration by co-worker and Sr. Graphic Designer, Mark Rosepink • Preferred by Installers for its Feel • Preferred by Installers for its Feel • Trusted by Contractors for its Performance • Trusted by Contractors for its Performance • Twenty Years and Counting • Twenty Years and Counting ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment for flash-patching and skim-coating in the most demanding environments. Install for flash-patching and skim-coating in the most demanding environments. Install floor coverings in as little as 15 minutes for a true featheredge and smooth, floor coverings in as little as 15 minutes for a true featheredge and smooth, permanent finish. permanent finish. It’s that smooth.™ www.ardexamericas.com 888-512-7339 It’s that smooth.™ www.ardexamericas.com 888-512-7339 FEATHER FINISH® FEATHER FINISH® Way smoother than As smooth as your this guy... baby’s bottom... • Preferred by Installers for its Feel • Preferred by Installers for its Feel • Trusted by Contractors for its Performance • Trusted by Contractors for its Performance • Twenty Years and Counting • Twenty Years and Counting ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment for flash-patching and skim-coating in the most demanding environments. Install for flash-patching and skim-coating in the most demanding environments. Install floor coverings in as little as 15 minutes for a true featheredge and smooth, floor coverings in as little as 15 minutes for a true featheredge and smooth, permanent finish. permanent finish. It’s that smooth.™ www.ardexamericas.com 888-512-7339 It’s that smooth.™ www.ardexamericas.com 888-512-7339 ARDEX Feather Finish Product Campaign - Promotional Items and Printed Advertising The four trade ads featured on this page are magazines over a 1 year period of time. The as hand out during events and for the currently being circulated into 4 different promotional items are used to gain loyalty as well video contest associated with the campaign.
Vox Type Classification List Humanist Garalde Humanist Transitional Didone Vox Type Slab Serif Nicolas Jenson (1420-1480). As this is the oldest Lineale Grotesque category of roman letterforms created in metal Lineale Neo-Grotesque type, the letters have many of the same characteris- Humanist Lineale Geometric Garalde and classicism and work well as text faces along- Transitional Lineale Humanist side Blackletter display type. Didone Glyphic Slab Serif Script on the lowercase e and their slanted axis (stress). Lineale Grotesque Humanist faces have the lowest contrast of the Lineale Neo-Grotesque serif text faces. Lineale Geometric Lineale Humanist Glyphic Script Typeface Adobe Jenson Pro ABCDEFGHIJKLMNOP QRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 Type Classification Vox Type Lineale Neo-Grotesque These faces are similar to Grotesques Humanist but they have a little less contrast and Garalde a single-story lowercase g. Their lower TransitionalSlab Serif Didone contrast gives these faces a more "designed" look because they haveThese are the faces with heavy square serifs that Slab Serif taken one step away from the modula-were designed in the early 1800s to meet the Lineale Grotesque Lineale Neo-Grotesque tion of pen-drawn strokes. The jaws ofdemands of a newly industrialized society. Slab Lineale Geometric letters like C are slightly more openserifs were widely used on broadside posters, Lineale Humanist than in Grotesques.handbills and advertising during the Industrial Glyphic By the mid-20th century, sans serifRevolution. With this relationship to the IndustrialRevolution, these faces have a real "workhorse" Script type in a wide range of weights camefeel about them. A London type founder, Robert to epitomize modernity. These faces Typeface easily accommodated modern designsThorne, coined the name "Egyptian" for his workon slab serif display typefaces. Typeface Helvetica Lt Std abstract, intellectual attitudes. There are three kinds of slab serif types. Regular Chaparral Proslab serifs are low in contrast (strokes and serifs ABCDEFGHIJKLMNOP QRSTUVWXYZare often the same thickness) and have unbrack- ABCDEFGHIJKLMNOPQRSTUVWXYZeted slab serifs. Clarendons have bracketed slab abcdefghijklmnopqrstuvwxyzserifs, a bit more contrast and ball terminals. abcdefghijklmnopqrstuvwxyz 0123456789Typewriter faces are monospaced slab serifs. 0123456789 Type Classification A poster series on three of the typographical classifications.
REC GAIN MAIN VOLUME MUSIC PRODUCTION CENTER AFTER PAD BANK Q1 A B C D F1 F2 F3 F4 F5 F6 FULL 16 NEXT TRACK LEVEL LEVELS SEQ MUTE DATA ERASE PLAY LOOP PLAY TO PLAY FROM PLAY ALL PAD13 SEQ EDIT -/+ PAD14 STEP EDIT PAD15 TRANSPOSE PAD16 SONG CANCEL y & - ( z # ! ) TAP TEMPO NOTE REPEAT NUMERIC PAD9 MIDI/SYNC 9 PAD10 OTHER 0 PAD11 ■ PAD12 EFFECT ENTER Q S U W MODE R T V X AFTER DIGIT DIGIT Q2 MAIN WINDOW UNDO SEQ PAD5 RECORD 5 PAD6 TRIM 6 PAD7 PROGRAM 7 PAD8 MIXER 8 I K M O J L N P LOCATE PLAY START SHIFT < BAR > STEP PAD1 SLIDER 1 PAD2 LOAD 2 PAD3 SAVE 3 PAD4 DISC UTILITY 4 START A C E G B D F H OVER REC DUB STOP PLAY END WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture.MPC 1000 Operator Manual CoverThis was a technical illustration project to design limited to black and white and the illustration wasthe cover of the MPC 1000 manual. The project was done completely in Adobe Illustrator.
Masters of the CameraWilliam Klein: WitnessAmerican photographer, painter, and filmmakerIn 1954, Vogue launched Klein’s career as a fashion photographer, a journeymarked by his ambivalent and ironic approach to the world of fashion. He didnot want to continue with mundane fashion poses, but wanted to take “at lastreal pictures, eliminating taboos and cliches”. Klein worked with unconventionalwide-angle and telephoto pictures, with unconventional lighting and flash effectsand with intentional motion blurs. Although he worked for Vogue until 1966, Masters of the Camerahe did not consider fashion photography to be his real calling but rather whathe calls “serious photographs”. William Klein: Witness by Lane AnthonyNon-Fiction : Art : PhotographyUS $59.00 Canada $56.86 UK £36.62 Masters of the Camera William Klein: Witness by Lane Anthony II Intro 6 Chapter 1: New York 40 Chapter 2: Rome 58 Chapter 3: Tokyo 72 Plates Table of Contents 82 Index of Plates William Klein Photography The goal of this book project was to make the book white space, creating a museum quality piece. It very luxurious with wide margins and significant was designed with limited color.
William Klein’s book New York was made in an intense eight-month period in 1954-1955, it was also during this period that the photographer began what would be a twelve-year relationship with Vogue magazine. Klein had met Vogue’s art director, Alexander Liberman, in Paris. According to Klein: Liberman said, “If you ever come to New York, come to see me and you can become, like, an art director or something at the magazine. It will give you a way of making a living. My preoccupation is painting and sculpture, but I make a living at Vogue, which gives me free time to work. It’s something maybe you could do.” I thought, why not? I didn’t like the idea of trying to sell oneself as a painter, buttering up to collectors or curators. I liked the idea of making a living with one hand and doing exactly what you wanted with the other. Vogue and Conde Nast, at that time, had a tradition of cultural patronage. Whatever, I felt this relationship was more comfortable than grant-hustling. The initial response to New York seems in some ways to have been like the Chapter 1: New York response to Frank’s The Americans in that it quickly became a cause celebre, and it was immediately perceived to create a new category. Yet, at least in Europe, it may have had even more impact in its early years than Frank’s book. Like The Americans, New York was published first in France. After France, it was published in England and in Italy. There was a great deal of controversy, but a certain success, the Prix Nadar, lots of cover newspaper stories, portfolios all over. In Japan it immediately became a cult book. The pho- tographic establishment ignored it. But I never met an American photographer of that period who didn’t somehow have a copy. Klein’s attitude toward his work for Vogue in relation to his personal Actually the story of William Klein’s return from Paris to New York to make work nlike that of, say, Louis Faurer, who sometimes felt that he had “sold —u the book that established him as the unique photographic figure he is now uni- out” s characteristically pragmatic; like Richard Avedon, he seems never to —i versally acknowledged to be came about through a more circuitous series of have apologized for any of the commercial work he saw fit to do. When he events than the Vogue Connection: arrived in New York in 1954, Klein recalls: In 1953, I learned about a new process developed by Corning Glass where photographs could be transferred into, not on the surface of, but into the mass “Once, I got into Liberman asked me, “What do you want to do?” I said, “A book of pho- tographs on my return to New York. A sort of photographic diary.” And he of glass. Up to then, it had only been used to put your grandmother’s face into photographing I realized said, “That sounds interesting — we’ll do a portfolio and foot the bill.” And they a locket. But I thought, wait, my abstract photos could become glass murals, did — paper, film, labs, enlarger — it was surreal and funny. Here was this fashion facades, a new kind of stained glass window. Okay, new vision, new materials, that photography was magazine financing photographs which were probably the funkiest and most let’s go to New York and see. unpublishable of the day, and although Liberman seemed to like them, that So that’s how I came back in 1954 … plus the idea of a book. The artist as seis- no longer abstract. portfolio never got done. But in 1954, a double page on me was published: an mograph, the Man with the Camera, plus the portrait of a city and what could abstract photo and an almost illegible Parisian picture, under the title A New be done in photography. As it turned out, I was able to get a series of small-scale Photo Graphic Eye. Not something Vogue would do nowadays. In the 1950s, there weren’t many magazines publishing serious photography. I’d hit a vein. ” models done in photo-sensitive glass. They worked well enough, but convincing Corning to build the kilns necessary for larger pieces would have taken years. So The art magazines almost never did, and photography magazines were mostly I plunged into the book. If the glass had worked out, I might have said later for preoccupied with sunsets, wrinkled old ladies and fishing ports. Life and Look the book, which would probably have meant never. were just Life and Look. It was only in Harpers Bazaar, for example, that you Once, I got into photographing I realized that photography was no lon- could see pictures of Brassai or Cartier-Bresson. Today, Vogue is on the same ger abstract. I’d hit a vein. Suddenly I realized I had to do this book. I could rack as the Enquirer in the supermarkets. But then, for many, Vogue was the do anything, mix everything I’d been boning up on with my own New York monthly shot of culture. craziness, and let loose. Every kid used to dream of going cross-country in a second-hand car. I never did. 24 New York 25 William Klein: Witness Anne St. Marie Isabella, Queensboro Bridge, 31 Macy’s Thanskgiving Day Parade, Broadway, 66 Anouk Aimée, 26 Mary Dove in Cafe, 24 Maurice Thorez’s Funeral, 69 B.Barzini, 7 Above: Barbara plus Coffee Filters Barbara and Coffee Filter, 25 Piazza di Spagna, 7 Paris, 1956 Barbara in a Night Cap, 27 Piazza di Spagna Crossing, 72 Barbara, Over Gadgeted, Does Lips, 8 Pigeons, 77 Left: Barbara in Night Cap Broadway and 103rd Street, 60, 62 Paris, 1956 Quartier Italien, 81 Candy Store, Amsterdam Avenue, 60 7up and Tree, 79 Club Allegro Fortissimo, 61 Simone and Sofia Loren, 81 Dance in Brooklyn, 62 Simone Daillencourt, 80 Dorothy & Douyale, Metal Dresses, 37 Simone Marines, Pont Allexandre III, 10 Anouk Aimée Smoke, 33 Four Women From Below, 36 Paris, 1961 Smoke and Veil, Cover, 32 Girl Dancing In Brooklyn, 63 St Patrick’s Day, Fifth Avenue, 8, 9 Gun 2, Little Italy, 64 Supermarket and fund, 7526 New York 27 William Klein: Witness Index of Plates Hat and Five Roses, 42 Tatiana Marie Rose Camels, Picnic, 13 Horn & Hardart, Lexington Avenue, 15 Theater Tickets, 78 Isabella Dove Mirrors, 19 Vitelloni 29th Street and Second Ave, 65 Isabella, White Faces, Opera, 11 Who are you Polly Magoo?, 22 William Klein Photography