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 …most responsive description we have of the spirit of Frank’s pictures. 4) Eugenia Parry Janis and Wendy MacNeil, eds., Photography within the Humanities (Danbury, N.H., Addison House, 1977), p.56. 5) Ibid., p. 56. 6) The wall label for his part of this exhibition was written by Evans himself: “Valid photography, like humor, seems to be too serious a matter to talk about seriously. If, in a note, it can’t be defined weightily, what it is not can b…  … but, on taking a closer look (as these images always demand), you can see shoes from both the fall and spring collections, a simultaneity never encountered in a Prada store. Despite the fact that fashion in general (and this label in particular) is all about currency and ephemer ality, Gursky creates from it something so paradoxically solid that the image compresses “fashion” to become its emblem. Shoes aren’t the only seemingl…  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …n a vernacular culture, the architecture and details of a landscape that idiosyncratically described the U.S. This became the central theme of Evans’s photography as supported by both Keller and Rathbone, who dispel the labeling of Evans as a “socially concerned” photographer. Whatever Evans’s personal beliefs were about the social conditions brought on by the Depression, he did not use photography as a crusading practice…. WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)  …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,…  …unes of Depression times, but your photographs are not critical. I find them more of a glorification—glorification of the plain and simple reality. W.E.: I’m pleased to hear you say that, because I didn’t like the label that I unconsciously earned of being a social protest artist. I never took it upon myself to change the world. And those contemporaries of mine who were going around falling for the idea that they were going to bring d… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  …y identifies a realist use of the medium, which could be seen to open up a much more complex and rich understanding of photography than the limiting implications of terms like formalism, which tend to get used pejoratively to label your writings and contribution to the history of photography. JS: When critics don’t know what to say about a good photographer who uses the camera simply and directly they say that the photographer uses the came… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006)  …mbue seemingly modest subject with extraordinary moral weight and dignity. Over the past forty years Eggleston has exposed an enormous amount of film for someone who does not work on assignment. Perhaps his only contemporary, Gary Winogrand is as comparably prolific. Eggleston’s editing process is rigorous. To date, a relatively small portion of his finest work has been exhibited and published. Eggleston, working with Caldecot Chubb, has ch…  …ver describe fully, never seem to make a clear point. A strange subliminal feeling is generated by the book because of this lack of a clear, rational — that is, verbal — equivalent. There are photographers — Gary Winogrand and Lee Friedlander are examples — who have taken up that illusive opacity and made it a life project, a separate way of seeing the world. And what is that? Szarkowski has described Frank’s work as…  …film about it because we wanted to show the atmosphere. Then we looked at the shots, still uncut, and were totally disappointed. UEZ: How did you make the film? HB: We borrowed a 16mm camera from Sigmar Polke. The advisor was Gary Schumm, in part, who has made a load of beautiful artist films, with Gilbert and George, for example. The idea was that this colliery was not a tightly knit conglomerate, as is usually the case, but rather a diffuse str…  …;1 Of all his books, this is the only one, to my knowledge, that is a result of Winogrand’s own editing. It has no captions, no list of plates or places or dates, no page numbers. It might have been better without Helen Gary Bishop’s autobiographical essay, “First Person, Feminine,” which seems to me to be a weak attempt to pacify an anticipated feminist critical response. Her brief commentary, “Winogrand Women,̶… | ||||||||||||||
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