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, Bellocq often ventured one block from his front door into the legally sanctioned district of prostitution. Bellocq is reported to have said to a friend “that he had always spent every cent he got.” (Gehman, page 34) Perhaps he started that habit in Storyville. Bellocq often wore a flamboyant red neckerchief or scarf (19) in the old days, and he also owned many pieces of monogrammed jewelry. Perhaps Bellocq fancied himself as a bit o E.J. BELLOCQ: “The Last Days of Ernest J. Bellocq” … E.J. BELLOCQ: “The Last Days of Ernest J. Bellocq” E.J. BELLOCQ: “STORYVILLE” E.J. BELLOCQ: “Storyville – The Red Light District of New Orleans” E.J. BELLOCQ: “‘Bellocq Epoque’ ̵ … 
By John Szarkowski, Director, Department of Photography, NY MoMA Diane Arbus’s pictures challenge the basic assumptions on which most documentary photography has been thought to rest, for they deal with private rather than social realities, with psychological rather than historical facts, with the prototypical and mythic rather than the topical and temporal. Her photographs record the outward signs of inner mysteries. Often, though less o DIANE ARBUS: “Diane Arbus MoMA Exhibition Wall Label Text” (1972) … DIANE ARBUS: “Diane Arbus MoMA Exhibition Wall Label Text” (1972) 
nced major social and technological changes in the years following the Civil War. Corresponding technological changes in photography meant advancements in film speed, lenses, electronic flash and introduction of the hand-held 35mm camera. Yet industrialization had not entirely effaced vernacular culture: the American vernacular remained steeped in the idiosyncrasies of region and life, emphasizing a handmade craft. Vestiges of the nineteenth cent WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996) … WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996) 
There are some places where the pulse beats more and others….after the war, I don’t know but I had a feeling that going to colonial countries was important. What changes are going to take place there? That’s why I spent 3 years in the Far East. I was in India just at the death of Gandhi, after the partition between India and Pakistan and it’s to be present when there is a change of situation, when there is most tension. And I had been livin HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973) … HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973) 
…ere were two. Particularly Kennedy. Because I became acquainted with him when he was totally unknown to the public. He was only known for dating the most beautiful women in sight. {Laughs} He had not yet been married. I spent 3 hours with him photographing him as part of a story on the Senate. We had coffee together and all that sort of thing — I haven’t counted the number of times I have photographed him. I mean, I don’t say that he was my INTERVIEW: “An Interview with Arnold Newman” … 
say, mural painting, did it involve—were you involved in such projects? Easel painting? BEAUMONT NEWHALL: I would say that the majority of the work was easel paintings. I’m terribly sorry that my recollection is so dim after 30 years… JOSEPH TROVATO: It’s understandable. BEAUMONT NEWHALL: I don’t have any records of it because my focus of attention on joining the Museum of Modern Art was such a sudden jump that I guess it kind of displaced INTERVIEW: “Interview with Beaumont Newhall” (1965) … 
ani’s dedication to others tangible. In order to achieve this, he had to show who Ceriani was, not just what he did. He rendered him so human and close to the reader that he could actually get to know his character. For 23 days Smith shadowed the doctor and captured the drama in everyday events in the small town of Kremmling Colorado. Smith achieved this extraordinary intimacy by, in his own words, “Fading into the wallpaper”. Despite missi W. EUGENE SMITH: "W. Eugene Smith – More Real than Reality" (2011) … W. EUGENE SMITH: "W. Eugene Smith – More Real than Reality" (2011) 
Photographer Jason Fulford is co-founder of the non-profit J&L Books. He is a contributing editor to Blind Spot magazine, and his photographs have been featured in Harper’s, The New York Times Magazine, Time, and on book jackets for Don Delillo, Richard Ford, Ernest Hemingway, Bertrand Russell and John Updike. November 3, 2009 ASX.TV: Jason Fulford – “Land” (1999) … |
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