| ||||||||||||||
 …. 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)  …he way,” he says. “When I turned to photography I turned completely. My references? Sander, Man Ray, Raoul Haussmann, Bill Brandt, the FSA, Riis, Moholy-Nagy, Rodchenko, Marey, Walker Evans, Muybridge, Lewis Hine, Weegee, John Heartfield – as well as Charlie Chaplin, von Stroheim, Orson Welles, and always Dziga Vertov.” But even before this “turning completely” to photography, Klein had immersed himself in othe… WILLIAM KLEIN: “The New York School: Photographs, 1936-1963″ (1992)  … was very grainy, and that when I made a larger print, it lost its sharpness and its saturation of tone. So I thought I’d continue with American Surfaces, but that I’d use a bigger camera. I got a Crown Graphic, the same kind Weegee used, with the intention of hand-holding it. But when photographing a store window, or a building on the street, or a home, I thought I might as well put it on a tripod. I hadn’t expected it when I started, but I ende… INTERVIEW: “Gil Blank and Stephen Shore in Conversation” (2007) …era’s capacity, I tested it the next day, and in spite of my original doubts, the Optar lens of f4.7 yielded surprisingly clear pictures. It was then that my thoughts immediately began to be congealed with raw images of Weegee. After tightening up a few loose screws and oiling every bit of the camera, I set out to take pictures in the streets. As it turned out, it took me a year to get used to the camera’s rangefinder; it being as sma…  …nd in the chapter describing Model THE TEACHER and particularly, her relationship with her most successful student Diane Arbus. Thomas has included reproductions of work by Eugene Atget, Andre Kertesz, Otto Dix, Egon Schiele, Weegee and others to put her work in a historical context. Promenade des Anglais, 1937 Model is best known as a remarkable portrait photographer who emigrated to this country at the beginning of World War II AND as the teach…  Nine minute excerpt of the Academy Award nominated “History of Photography”, featuring Weegee and Edward Weston. Narrated by Raymond Massey, music by Elmer Bernstein. …  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …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) …tists and the historical effects of their work are rarely synonymous. For example, artists who have benefited from the renewed critical and curatorial interest in Conceptual Art in the last decade have themselves resisted the label “conceptual.”(2) This is understandable – no practicing artist wants to be pigeon-holed as an example of an historical movement. Yet the conceptual designation has been crucial to the historical under… “The Photographic Idea: Reconsidering Conceptual Photography” (1999)  … 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…  … 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… | ||||||||||||||
|
