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 …rted. That book is a very important book — cause that was the start of my interest in the visual things. My wife did the charts for it. She worked on it too. K: It has many photographs in it? Oh, yes. It was loaded. H: It has Lewis Hine pictures in it. You knew Lewis Hine. You see, I met Lewis Hine early. Lewis Hine had a hell of an effect on me; a terrific effect on me. K: Did you know Lewis Hine before you worked on the book? No. Well, I had me… Tweet…  …ut, once again, in the way Adams transforms the heavy, palpable radiance of the light virtually inhabiting O’Sullivan’s photographs (and those of his glass-plate brotherhood) into the oftentoxic presence that the photographer Lewis Baltz, in a review of The New West, called “the relentless light of perpetual noon.”8 While Adams’s pictures likely owed a part of their effect to his thinking about nineteenth-century photography, they also provided a… ROBERT ADAMS: “Tod Papageorge on Robert Adams – The Missing Criticism – What We Bought”  …te, American males (the exception being the Becher’s), would in retrospect read off as a hall of fame of sorts within the photographic community of these modern times. The involved parties were as follows: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel Jr. Whether these individuals would have obtained the exact measure of success to date without this pro…  …. 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…  …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)  …aphing suburban America? W.E.: The movie called The Graduate was satirical and quite true, quite penetrating, but that’s not still photography. And there’s a long tradition of it in writing, identified by Sinclair Lewis. His characters like Babbitt are relentless pictures of middle-class American life. But I can’t imagine myself photographing a group of people sitting around a country club, or whatever they call it. I’ve n… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  … seem that most of photography’s heroes from the first half of the 20th century (to provide a little historical distance to the question) were amateurs. The conspicuous exceptions that occur to me would be Eugene Atget, Lewis Hine, Edward Steichen and Ansel Adams. Weston and Alvarez-Bravo also supported themselves, more or less, by photography, but not by doing the work that we know, or that they would of their own free will have shown us. … INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006)  … 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…  Untitled (RAL 37), 1994 By Jim Lewis, ArtForum, January, 1997 Once every year or two – and lately less frequently than that – I receive a sort of visitation of art, a visual experience altogether unlike any other. It is, quite literally, what I live my critical life for: an object or an image never before seen, at once entirely strange and perfectly familiar and right. So it was that during a trip to Los Angeles a few months ago som… | ||||||||||||||
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