INTERVIEW: “Nikolay Bakharev in Conversation with Luca Desienna” (2006)

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Nikolay Bakharev in Conversation with Luca Desienna of Gomma Magazine – Translation by Olga Ippolitova – Series Baharevland Nikolay Bakharev’s emotive and controversial images are important social documents that enlighten and inform the viewer. The subjects – freed from oppression by this oppurtinity to express grace and fragility, desire and control, honour and sincerity – are merely a means of expression for the phot…

INTERVIEW: “Nikolay Bakharev in Conversation with Luca Desienna” (2006)

HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973)

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…enting is extremely dull and journalism…I’m a very bad reporter and a photojournalist. Capa told me when I had an exhibition at the museum of Modern Art in ’46, he said no, he’d be very careful. You mustn’t have a label of a surrealist photographer. All my training was surrealism. I still feel very close to a surrealist but he said if you were labelled as a surrealist photographer you won’t go any further you won’t have an assignment …

HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973)

INTERVIEW: “An Interview with Arnold Newman”

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…. It just simply means that I am able to think better. Let’s put it that way. AC: I read that you don’t really consider yourself an environmental portrait photographer, is that true? AN: No, I think basically I am. But I hate labels. That label was placed on me by an early writer who did an article on me calling me the father of the environmental portrait, which seems to have stuck. But the Stravinsky is not an environmental portrait, it’s really…

INTERVIEW: “An Interview with Arnold Newman”

RICHARD AVEDON: “Listening to Avedon” (1995)

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…ic integrity while admitting that everything he has accomplished as a creative artist depends on the participation of others. Demanding that he be seen as an artist is nothing new for Avedon; he has spent decades fighting the label “fashion photographer.” This is partly because it is important for him to claim his own identity as a photographic artist as opposed to a constantly compromised and therefore non-existent individual associa…

RICHARD AVEDON: “Listening to Avedon” (1995)

 
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