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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…  …his approach impressed Stryker, who insisted the “Alabama albums” be preserved intact. Agee had a more difficult time organizing his material. That fall he submitted a first draft (some 80 pages) to Fortune editor Russell Davenport, who rejected the draft. Fortune never published the article. Agee labored over the writing for five years. “I will work for money only when I have to have it and think security and solidarity and res… WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)  …risis was producing an autobiographical account of the widespread death and desolation, for personal reasons, which were obviously implicitly political as well. “These are not people who go quietly and obediently,” wrote John Russell in his New York Times review of Witnesses, a comment whose redundancy is surprising. Cookie and Vittorio’s wedding, 1986 The genealogy of the illness and its visual production were intricate and broken in man…  …Roy was not too much concerned with the actual photographic technique. In the beginning he left a good deal of it up to me. I ordered equipment; I worked with the photo lab people; I helped design the photographic laboratory. Russell Lee was also a great technician and he and I did a great deal of work on the actual mechanics of photography. Roy, I think, also benefited a great deal from having two people who were already in the government and wh… INTERVIEW: “Oral History Interview with Arthur Rothstein” (1964)  …of them still had a little drive, although, of course, their health was so bad it was telling . . . . RICHARD DOUD: To get sort of off the track a moment, who was working there at the time in the Section? MARION POST WOLCOTT: Russell Lee, Arthur Rothstein, John Vachon was not doing much photography at that time. He was working with the files . . . . RICHARD DOUD: Still with the files, then? MARION POST WOLCOTT: Yes. He hadn’t done any photo…  …y identifies a realist use of the medium, which could be seen to open up a much more complex and rich understanding of photography than the limiting implications of terms like formalism, which tend to get used pejoratively to label your writings and contribution to the history of photography. JS: When critics don’t know what to say about a good photographer who uses the camera simply and directly they say that the photographer uses the came… 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…  … works are ‘portraits’ of spaces, but really you could just as easily turn that around: several of the portraits in my earlier work were to a certain extent already images of ‘spaces’, as I now see them. At the same time, the label that was attached to my photos very early on is proving stubborn. The same clichés keep on turning up in article after article. Admittedly, I still don’t make optimistic, colourful pictures, but I still believe I’m doi…  …unes of Depression times, but your photographs are not critical. I find them more of a glorification—glorification of the plain and simple reality. W.E.: I’m pleased to hear you say that, because I didn’t like the label that I unconsciously earned of being a social protest artist. I never took it upon myself to change the world. And those contemporaries of mine who were going around falling for the idea that they were going to bring d… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  …most responsive description we have of the spirit of Frank’s pictures. 4) Eugenia Parry Janis and Wendy MacNeil, eds., Photography within the Humanities (Danbury, N.H., Addison House, 1977), p.56. 5) Ibid., p. 56. 6) The wall label for his part of this exhibition was written by Evans himself: “Valid photography, like humor, seems to be too serious a matter to talk about seriously. If, in a note, it can’t be defined weightily, what it is not can b… | ||||||||||||||
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