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 …r Elsken. In Germany, only the older photographers and photography experts knew his name, people who were into photography books from the ’50s and ’60s.” Lutgens, whose previous exhibitions include shows of Wolfgang Tillmans and Elizabeth Peyton and who oversaw the Wolfsburg stop of the traveling Nan Goldin retrospective, hopes to introduce van der Elsken to a new generation with her comprehensive survey opening this month at t… ED VAN DER ELSKEN: “Yilmaz Dziewior on Ed van der Elsken” (2000) ![Bill Brandt Parlourmaid and Underparlourmaid Ready to Serve Dinner [NY-BB-1006]](http://www.americansuburbx.com/wp-content/uploads/2009/06/Picture060-302x302.jpg "Bill Brandt Parlourmaid and Underparlourmaid Ready to Serve Dinner [NY-BB-1006]") …t into social comment – the first great magazine editor; famous in Britain because he founded both Lilliput and Picture Post and edited them. When Lorant arrived in Britain he found this stable of German émigrés – Felix Mann, Wolfgang Suschitzky and also British native-born photographers like Bert Hardy and Grace Robertson and he tries to weld their acute sense that the world was ending and that one had to talk about it fast into something newsy …  … Friedlander, Garry Winogrand, and Diane Arbus was introduced together in an exhibition at the Museum of Modern Art, New York, entitled New Documents, setting the standard for a new notion about the ‘documentary.’ In his wall label for that exhibit John Szaskowski wrote, ‘In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it.’ 18….  …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…  … 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)  … 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…  …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,…  … 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…  …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)  …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…  …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) | ||||||||||||||
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