RULES OF ENGAGEMENT
Marcia E. Vetrocq

Art in America, June/July 2008, 168-175, 208-209

hortly before the conclusion of Shattered Glass, the 2003 film that recounts the downfall of a hot
young journalist at the New Republic who was found to have fabricated the better part of his
reputation-building features, the magazine’s anguished editor receives an assessment of how the
crisis might have been averted from his assistant. “You know what could have prevented all this,

Robert Rauschenberg, dead at 82....
This portrait of Timothy's was taken in 1987
for his exhibition of 20x24 color polaroids at
the Mary Boone Gallery.

By Janice Malone
Photos by Earl Flippen

Timothy Greenfield-Sanders’s photographic portraits hew to the demands of glamour while interjecting a sly, subversive edge. His sitters always look their best, despite an obviously crumpled shirt (Bill Murray) or a well-lit wrinkle (Tom Hanks), and never look stitched up or puppetlike. They are relaxed, always staring back with an unflinching gaze. Of course, the photographer’s task is helped by his raw material: A-list movie stars and other people well versed in the hidden language of the casual pose.