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 …(1)(2) Legend also held that Bellocq’s brother a Jesuit priest, was responsible for violently scratching many of the women’s faces from the emulsion. Yet new research sheds some doubt on all of these ideas. Father Leon Bellocq Photo courtesy of Special Collections and Archives, Monroe Library, Loyola New Orleans. Late September, 1949: a short, fat old man shuffles out of the front door of the Federal Reserve Bank in New Orleans’…  (February 2, 2011) Leo Rubinfien provides a background for his photos. The common theme of his projects is urban life, globalization, and modern society. He describes how his upbringing and many travels have allowed him to be exposed to the uniqueness of the world. Tweet… ASX.TV: Leo Rubinfein – “Paths through the Global City: Photographs by Leo Rubinfien” (2011) Leo Rubinfien (b. 1953, Chicago) is an acclaimed photographer and writer who began exhibiting in the 1980s, soon after graduating from the Yale University School of Art. He was an insatiable traveler from the start, and his early work was distinguished by its use of rich color and its attention to what would be called “globalization” in the years to come. Reviewing his first one-person exhibition at Castelli Graphics, New York, in 1982, Art in …  Stray Dog, Misawa, Aomori, 1971 By Leo Rubinfien, Art in America, October, 1999 The photographer Daido Moriyama, whose first U.S. retrospective is now on view in New York, has spent the last 35 years elaborating a somber, alienated vision of postwar Japan. Moriyama is the author of over 20 books of photographs–notably Nippon Theatre (1968), Hunter (1972), Farewell to Photography (1972) and Light and Shadow (1982)(1). His current retrospe… DAIDO MORIYAMA: Daido Moriyama: Investigations of a Dog” (1999)  By Vince Leo, Afterimage, Sept-Oct, 1995 Of all Avedon’s recent testimonials, none is more concise or revealing as a short cassette tape audio tour of his 1994-95 retrospective “Evidence” made for the show’s last tour stop, the Minneapolis Institute of Arts (MIA). Culled from interviews with radio journalist and independent producer Connie Goldman conducted over a 25-year period beginning in 1970, the audio tour of R…  Girl in Fairground Caravan, 1926-1932 Focusing primarily on the Weimar period, when August Sander made many of his best works, the author reconsiders the photographer’s massive documentation of Germany’s population. A traveling retrospective is currently on view at New York’s Metropolitan Museum. By Leo Rubinfien, Art in America, June-July, 2004 August Sander (1876-1964) was one of the 20th century’s greatest photogr…  A family on their lawn one Sunday in Westchester, N.Y., 1968 Where Diane Arbus Went: A Comprehensive Retrospective, prompts the author to reconsider the short yet powerfully influential career of a photographer whose “fascination with eccentricity and masquerade brought her into an unforeseeable convergence with her era, and made her one of its essential voices. By Leo Rubinfien, Art in America, Oct, 2005 For almost four decades the comp…  …ough to see. Possibly, the fear went deeper. Like others who photograph so extensively, or indeed practice any art with such ferocious intensity, the process would seem to have had an almost talismanic force for Winogrand. As Leo Rubinfien perceptively put it, the art of Garry Winogrand constantly reiterates ‘estrangement from the world, and the photographer’s imaginative reclaiming of it.’10 If Winogrand sought to discover a better world through… GARRY WINOGRAND: “I Don’t Give a Rap About Gasoline Stations – The Winogrand Problem” (1988)  …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)  …. 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…  By Leo Rubinfien, Art in America, December 2000 A traveling retrospective (2000) prompts the author to recall the austere formalist–and often mordant “self-made well-bred man”–behind the conventional image of Walker Evans as an empathetic social documentarian. Few artists are more candid about their esteem for their predecessors than Garry Winogrand was about his for Walker Evans. Evans had shown him that photographs c…  …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) | ||||||||||||||
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