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Posts Tagged ‘photography’

He Was Always Right, and Other News

January 20, 2015 | by

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James Rosenquist, Floating to the Top, 1964. Courtesy VAGA New York and Paul Kasmin Gallery.

  • Merriam-Webster has undertaken a daunting project: they’re publishing a new edition of their unabridged dictionary, which hasn’t seen a major overhaul since 1961. Their employees are already hard at work: “Emily Brewster has produced anywhere from five to twenty-five definitions a week. Twerking is ready, she tells me in December. Nutjob (which dates to 1959) and minorly are good to go. Jeggings is, too. The new sense of trolling looks promising, she says, ‘but first I have to finish hot mess.’ Brewster is very excited about hot mess. Thanks to Google Books, she found it in a machinists union trade journal from 1899: ‘If the newspaper says the sky is painted with green chalk that is what goes. Verily, I say unto you, the public is a hot mess.’ ”
  • In 1969, the curator Henry Geldzahler convinced the Met to host “New York Painting and Sculpture: 1940–1970,” a show so vast and intensely contemporary that it remains a watershed—so why not just do the whole thing again? “Henry had a fantastic eye. He wasn’t wrong about anything. He was always right.”
  • A mother from an affluent Texas town would strongly prefer her children to read Ayn Rand in school, not The Working Poor, David K. Shipler’s book about poverty. In other news, Oxfam announced yesterday that 1 percent of the global population holds half the world’s wealth.
  • George Steinmetz traveled by helicopter to take these aerial photographs of New York in winter. He and his pilot “frequently flew so low that they passed in between buildings, with Steinmetz and his camera hanging out of the open door.”
  • Remembering Alice K. Turner, who was Playboy’s fiction editor for two decades. “Fiction is kind of a nuisance,” she once said. “The ad sales guys don’t see the point. They would cut it out if they could, except for the fact that it adds a certain respectability … Playboy stories have beginnings, middles, and ends. They have a kind of general appeal. They are not experimental. They are not terribly modern or forward-reaching but they have real quality, or so I hope.”

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Damn the Absolute

January 19, 2015 | by

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William James, left, and Josiah Royce in New Hampshire, September 1903. When James heard the click of the shutter, he shouted, “Royce, you're being photographed! Look out! I say, Damn the Absolute!”

A letter from William James to his publisher Henry Holt, sent from Cambridge, Massachusetts, on January 19, 1896.

MY DEAR HOLT,—At the risk of displeasing you, I think I won’t have my photograph taken, even at no cost to myself. I abhor this hawking about of everybody’s phiz which is growing on every hand, and don’t see why having written a book should expose one to it. I am sorry that you should have succumbed to the supposed trade necessity. In any case, I will stand on my rights as a free man. You may kill me, but you shan’t publish my photograph. Put a blank “thumbnail” in its place. Very very sorry to displease a man whom I love so much. Always lovingly yours,

WM. JAMES.

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Eamonn Doyle, i

December 17, 2014 | by

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Eamonn Doyle

Aperture’s Lit issue introduced me to the work of Eamonn Doyle, a photographer based in Dublin. His series i is inspired by Samuel Beckett. As he told LensCulture:

I was re-discovering the work of Samuel Beckett, specifically the “trilogy” comprising the novels Molloy, Malone Dies, and The Unnameable. I began to be drawn towards a number of solitary “Beckettian” figures I saw on the streets of Dublin, people I had seen passing me every day who seemed to be treading the same ground, day in, day out … I wondered how I might approach the photographing of these people, who were after all (and who remain) near-total strangers to me … Is it possible to take photographs of these people in such a way that will honor their essential, even existential, distance from me? … This tension between, on the one hand, the attempt, and subsequent failure, to gain knowledge and, on the other, what happens in the act of attempting-then-failing is something that interests me. It’s a contradiction with which many of Beckett’s characters seem to be familiar. It’s also a point at which a representation, in reaching a limit point, acknowledges its status as an act.

See more of his work on his website, in Aperture, and at LensCulture.

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Eamonn Doyle

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The Designed Landscape: An Interview with Carol Betsch

December 15, 2014 | by

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Carol Betsch, View from Mountain Avenue, below Washington Tower, Mount Auburn Cemetery, Boston, Massachusetts, 2005.

100 Years of Design on the Land,” a photography show opening here in New York this evening at 1285 Avenue of the Americas Art Gallery, explores ten historic American landscapes, from Mount Auburn Cemetery in Boston, created in 1831, to the Camden Public Library Amphitheatre in Maine, created in 1931. The show presents contemporary photographs by Carol Betsch and Andy Olenick that have been commissioned for books published by the Library of American Landscape History (LALH). Robin Karson, the executive director and founder of LALH, curated the exhibition. As she says in an introductory statement in the show’s catalogue, “each of these places was shaped by a deliberate design process, and each has an individual story to tell. Taken together, they tell a much larger story of a nation’s beliefs and aspirations—who we are, where we long to go or what we want to get back to.”

The Library of American Landscape History, based in Amherst, Massachusetts, is defining the field of landscape history through its books about significant American landscape practitioners and places. LALH also organizes exhibitions that reflect the subjects of its publications, and, in partnership with Hott Productions of Florentine Films, produces a series of short films, North America by Design. Carol Betsch’s photographs have appeared in eleven LALH books (two are forthcoming). For the 2013 title The Best Planned City in the World, the author Frank Kowsky worked with Andy Olenick, an architectural photographer based in Buffalo, to document the key elements of the park system designed by Frederick Law Olmsted and Calvert Vaux for that city. This includes three large parks and a series of parkways to connect them, as well as Niagara Falls, which Olmsted helped to preserve from the destruction of local industries.

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Andy Olenick, Delaware Park Meadow, Buffalo Parks, Buffalo, New York, 2013.

I first encountered Carol Betsch’s photographs at the exhibition “A Genius for Place,” at the PaineWebber Art Gallery in the fall of 2000. I was struck by the remarkable elegance and stateliness of her images. The landscapes pictured were stunning, with grand homes nestled among ancient trees, vast lawns, formal gardens, pools, ponds, and follies. I found the feeling of serenity in these places, the evocative light and space, tremendously appealing. Looking at these photographs felt like walking through these wonderful American landscapes and gardens, having just the right guide to take me to the best views, the most significant perspectives, and to create the opportunity for understanding some of the ideas behind the landscapes unfolding before me. The photographs looked like they could be the work of an artist from the late nineteenth century, but they had all been made during the last decade. Who was this photographer? And where were these places?

“A Genius for Place,” both the show and the book that followed, presented seven estates of the country-place era, roughly the 1890s to the 1930s, created by some of the most important landscape architects of the time. Written by Robin Karson, the chapters alternate between biographies of the practitioners and exploration of the places from the perspective of an art historian, looking at the landscape designs as works of art. Selecting the best of the sites that retained the integrity of the original design, and discussing them in chronological order, Karson reveals the trajectory and evolution of American landscape design, and the ways these designs expressed ideas in the larger culture.

In anticipation of this new show, I spoke with Betsch about her photography, and the process of working in these landscapes. Read More »

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The Original Futurologists, and Other News

December 12, 2014 | by

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From a set of French nineteenth-century postcards depicting what we thought we'd be doing in the year 2000.

  • Isn’t it time for the New York Times to abandon its senselessly decorous policy on obscenity? “America’s newspaper of record has a habit of relying on euphemism to shield its subscribers’ delicate sensibilities, as if Times readers are all wealthy dowagers prone to fainting spells at the merest suggestion that human beings have sex or excrete waste … We’re all adults here. Reading a dirty word in the newspaper won’t scandalize anyone.”
  • The Victorians invented the future as we know it, insofar as it was only in the nineteenth century that we began to imagine a future that could be radically different from our present. “As new attitudes towards progress, shaped by the relationship between technology and society, started coming together … people started thinking about the future as a different place, or an undiscovered country—an idea that seems so familiar to us now that we often forget how peculiar it actually is.”
  • And the Victorians invented our concept of the biography, too; it could do with some shaking up. “Biography seems remarkably consistent. There is a deep similarity between those worthy (and often fascinating) nineteenth-century volumes … and the contemporary biographies … Why hasn’t biography been as daring as the novel?”
  • Peter Funch’s stunning photographs of Mount Baker re-create decades-old postcards, illustrating how the landscape has changed: “Although imperceptible, each photograph has a narrative.”
  • An interview with Laure Prouvost: “I know I’m never going to fully grasp life in my art. It’s never as good as having the sun on your face. Even if you film someone with the sun on their face it feels as if you’ve lost something.”

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Poets on Photography

December 10, 2014 | by

The latest issue of Aperture magazine focuses on the relationship between literature and photography. The editors were kind enough to share the feature below, in which four poets discuss some of their favorite photographs. It appears in Aperture magazine #217, Winter 2014, “Lit,” as “Collectors: The Poets.”

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© Sergio Larrain/Magnum Photos

John Ashbery

Sergio Larrain, Boulevard Saint-Germain, Before the Deux Magots Café, 1959. 

I lived in Paris mostly from 1955 to 1965. This photograph, called Boulevard Saint-Germain, Before the Deux Magots Café, Paris 1959, is by Sergio Larrain. The Café Deux Magots was a favorite hangout of mine, at least when I was flush enough to afford it. I could conceivably have been there when the picture was taken. The photograph sums up beautifully the atmosphere of Paris on a rather chilly autumn afternoon, with well-dressed and well-behaved tourists sipping their café exprès and two fashionable cars, a sports car and a sedan. The three people chatting around the sports car are almost crystallizations of Parisians of that now distant era. The young man at far left, with his back to the camera, is an iconic silhouette of the time, with pleasantly rumpled clothes and both shoes planted firmly on the pavement. I keep this card tucked into a picture frame over my desk to remind me of the past in all its melancholy variety. Read More »

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