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ASX.TV: Henri Cartier-Bresson – “The Impassioned Eye” (2003)
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 … images for the magazines that were more news oriented, more obviously illustrating the racial barriers than the projects exhibited here, but he is not interested in exploiting his archives of commissioned works. Perhaps like Henri Cartier-Bresson, he believes that the trash goes to the magazines, whereas the good images are kept for books and exhibitions…. The second floor of the Fondation exhibition could very well be a group show of diffe…  …cans. Koudelka pushes further Frank’s vision that was dismissed when his book first came out because of its apparent dullness and claustrophobic atmosphere. The Czech adds here the rigorous use of the frame advocated by Henri Cartier-Bresson (no wonder he felt at home at Magnum, no wonder Cartier-Bresson and Delpire welcomed him, although, paradoxically, Elliot Erwitt, the agency’s jester was the one who introduced them). Rigor is wha… JOSEF KOUDELKA: “Modern Sublime: The World of Josef Koudelka at the Rencontres d’Arles” (2003)  …an to do fashion to support other things I wanted to do. But my heart wasn’t in it. The models were too tall and too sophisticated for me, and I’m a sloppy dresser. Q: You mentioned Cartier-Bresson. Did your relationship with Bresson inspire you or your work at all? BD: My relationship with Cartier-Bresson goes back to 1956, when I was a soldier stationed near Paris, and I’d photographed an old woman I’d met in Montmarntre, who knew Gauguin, Laut…  …, his approach to the (human) form and by his persistence to have an adolescence like the subject of his narration. Also in russian literature for example Dostoievskyi the youth is nearly always predominant as it is in Robert Bresson films. The youth I met before in Russia when I did my series with boys were mainly young prostitutes which came from the surburbs to Moscow so they were adolescents but also they were living a real extreme experience…  …t’s implicit obligation was to approve of what he described, his intelligence and ability could then only be used to display not what he felt, but how gracefully he was able to make a picture. It appears that Frank identified Henri Cartier-Bresson with what he thought was glib and insubstantial about photojournalism. The Decisive Moment, Cartier-Bresson’s first major book, had been published in 1952, and, among a small congregation of photographe… HALLY PANCER HARRY CALLAHAN HEIN-KUNH OH HELMUT NEWTON HENRI CARTIER-BRESSON HENRY WESSEL HELEN LEVITT HUGH HOLLAND …  …rk. Until then he had photographed in black and white, had obeyed the maxims of the ‘decisive moment’ and the perfect balance of composition as preached by the one photographer he had hitherto always looked up to, Henri Cartier-Bresson. During various visits to the shopping centers which were now springing up all over the country, Eggleston succeeding in combining color photography with ordinary, everyday impressions and, in so doing,…  …ngefinder in 1957, followed by his first Leica in 1958. His only source of photographs was in the popular magazines of the Fifties, until around 1960, when he saw copies of Walker Evans’s American Photographs (1938) and Henri Cartier-Bresson’s The Decisive Moment (1952). He still returns to Cartier-Bresson, but there are few books on his shelves. In his private world, William Klein’s Tokyo (1964) is conspicuous amidst albums of … WILLIAM EGGLESTON: “Introduction to Ancient and Modern” (1992) | ||||||||||||||
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