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 Interview Excerpt from, Leslie Katz with Walker Evans, 1971. Leslie Katz: You took photographs of whatever interested you? Walker Evans: Oh yes. I was a passionate photographer, and for a while somewhat guiltily. I thought it was a substitute for something else – well, for writing, for one thing. I wanted to write. But I became very engaged with all things there were to be had out of a camera, and became compulsive about it. It was a rea…  …f its influence was slow. Beaumont Newhall’s The History of Photography, certainly the standard text, gave only minor mention to Frank’s work in the 1964 edition. [4] Newhall deferred, in fact, to a description by Walker Evans. [5] Newhall’s caution was prudent, for throughout the ’6Os no one had much of an idea of what The Americans was about. But the images were widely anthologized, and the book was eventually reprinted … … Walker Evans, pictures taken from a moving automobile or train. © Walker Evans Archive, The Metropolitan Museum of Art … … Installation View of “Walker Evans: American Photographs” at The Museum of Modern Art, New York City, September, 1938. © Walker Evans Archive, The Metropolitan Museum of Art …  University of Tennessee professor Paul Ashdown discusses the seminal work by James Agee & Walker Evans, Let Us Now Praise Famous Men. Ashdown tells how this book came about and how it eventually became an object of study for academics. He calls it a “one of a kind” work. … ASX.TV: James Agee & Walker Evans – “Let Us Now Praise Famous Men” (2009)  …n color, because all the photographs he had seen, and they were mostly snapshots, were in color. So what is going on here? What is this prohibition against color? RJ: One of the photographers who have influenced you a lot was Walker Evans. When you were at the age of ten, you were given his book of “American Photographs”. But Walker Evans has been known mostly for his black and white photos, even though he did take color photos. I can see the sha… INTERVIEW: Stephen Shore – “The Apparent Is the Bridge to the Real” (2007)  … construct an aura of the moment. Frank’s use of a lightweight 35mm Leica camera meant that he was able to move and shoot rapidly, “from the hip,” without the encumbrances that, for example, had weighed down Walker Evans.13 Nor would Frank wait days for the proper lighting situation as had Evans. In a sense, Baudelaire’s description of the Flaneur, as later explained and interpreted by Walter Benjamin and Susan Sontag, per… ROBERT FRANK: “The Photographer in the Beat-Hipster Idiom – Robert Frank’s The Americans”  …de William Eggleston, Joel Sternfeld and Joel Meyerowitz, as one of the leading pioneers of New Color Photography. [4] This is attributable not least to the fact that the autonomous use of color, once dismissed as “vulgar” by Walker Evans, signalized a revolution within the nascent developments in art photography, which with a certain delay then spread to Europe and in particular to Germany. In the case of Stephen Shore, the narrowly restricted G…  …ns. I think you published a small booklet on. BEN SHAHN: No, no. HARLAN PHILLIPS: Photographs of the day? BEN SHAHN: No, I didn’t. Vanity Fair laid out four pages, and they loved those photographs. See, I shared a studio with Walker Evans at the time. At that time I had gotten very hipped on the subject that if I can create an intense reality, it will generate some broad generalities, you see. And if I could create the right fold in the thing in …  …hink I took the risk of allowing photography to be itself’–embraced both ends of the medium. Besides reshowings and reappraisals of such classic exponents of photography such as Brassai, Henri Cartier-Bresson, and Walker Evans, he also exhibited photographers who had hitherto been known only to experts and connoisseurs. In 1967, for example, Szarkowski exhibited Diane Arbus, Garry Winogrand, and Lee Friedlander in a group exhibition e…  …y photographs of Paris that he made for his future wife, Mary Lockspeiser, in 1949. Of course, Frank is best known for his book The Americans, which he began compiling in 1954. With encouragement from his mentor, photographer Walker Evans, and a grant from the Guggenheim Foundation, Frank traveled by car to several parts of the United States over the next three years, recording average Americans in offices, juke joints and roadside diners. Despit… INTERVIEW: “Interview with Robert Frank: American Visions – Photographer and Filmmaker” (1996) | ||||||||||||||
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