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 …nk used Evans’ work as an iconographical sourcebook for his own pictures. The photographs that make up the rest of the comparisons, however, more loosely resemble one another, since they have been paired to describe something less tangible than clear correspondences of subject-matter, and, because of this, have been formally matched on the basis of only minor visual similarities. In a general sense, these comparisons are meant to remind us that t…  Le grand photographe Elliott Erwitt partage sa passion pour les chiens avec Polka et raconte au passage quelques-unes des anecdotes qui se cachent derrière ses clichés les plus célèbres. Tweet…  …antique, poussé par un antisémitisme de plus en plus présent. C’est le temps des passants de Manhattan et de ces jambes fuyantes, capturées via le reflet des vitrines des magasins de luxes de la 5e avenue. Puis viennent les clients endimanchés des night-clubs et les chapeaux des dames « de la haute », saisies durant l’excitation des courses hippiques. Un hommage simple à l’époque qu’elle traverse. Ses séries captent d̵…  …antique, poussé par un antisémitisme de plus en plus présent. C’est le temps des passants de Manhattan et de ces jambes fuyantes, capturées via le reflet des vitrines des magasins de luxes de la 5e avenue. Puis viennent les clients endimanchés des night-clubs et les chapeaux des dames « de la haute », saisies durant l’excitation des courses hippiques. Un hommage simple à l’époque qu’elle traverse. Ses séries captent d̵…  …eone else.” Like many photographers of his generation (Minor White and Robert Frank come to mind), he believes that describing one’s own feelings is the goal of every serious photographer. Finding such feelings is less about self examination than about discovering them through a photographic interaction with the world and its subjects. “A portrait photographer,” Avedon says, “depends on another person to complete his…  …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,…  …ned to run aground from the outset. At this point, the photography of Nakahira’s group, that was intended radically to break away from institutionalised visual habits, became recognised as the bure, boke style1, although this label caused it to lose its initial potency. At a time when the media were beginning, here and there, to broadcast the Vietnam War or the Palestinians’ fight for independence, Nakahira hesitated to push the release. He was i…  …fundamental difference when something is included or left out in a certain way. I don’t base this on any sort of theory or argumentation, I just realise almost intuitively that it plays a role. You gradually develop a more or less accurate imagery, in which all details are present because they are important. You build up an image from a number of elements, or more accurately, you look for ways to eliminate. You are somewhere; you’re standing in a…  …, not as census takers Perhaps Newhall and Steichen, consciously or otherwise, felt more compelled than I to be advocates for photography, whereas I – largely because of their work – could assume a more analytic, less apostolic attitude. Their curatorial styles were, of course, quite different: Newhall’s was quite straitlaced, while Steichen was often being a showman and an artist at the same time that he was being a curator. H… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006)  …n the back of my mind, I always thought if I ever did a film, it would be a horror film. Because it’s not pretentious and it’s low budget. And if it’s bad, people expect it to be bad anyway, so there’s less pressure. It seemed the perfect thing for me, and I love horror films anyway. NF: Who is the screenwriter? CS: We had three people working on it. Initially Elise MacAdams wrote it. I gave her the general idea for the st… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …ironment visually, I am always observing my immediate surroundings. Consequently, I am constantly putting things in order, sorting them out, until they become a whole.” The other explanation he offers is more cognitive, less artistic: “My preference for clear structures is the result of my desire, perhaps illusory, to keep track of things and maintain my grip on the world.” Order makes a better picture, but it also gives us a de… | ||||||||||||||
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