Posts tagged Photography

Berenice Abbott (1898-1991) New York at Night, 1932 Gelatin silver print, c. 1980, signed in pencil on the mount; with the ‘Photograph by Berenice Abbott © Commerce Graphics Ltd., Inc., East Rutherford, NJ 07073’ ink stamp on the verso. 19 1/4 x 15 1/2in.

TONY OURSLER (b. 1957) Untitled, 2005. signed ‘Tony Oursler (lower right), dated ‘2005’ (lower left) collage and carbon on paper.

(Perpetual Favorite) The Lively Morgue - You’re looking at the New York Times blog The Lively Morgue right? Unbelievable images like this one, and what about this one, and you can’t forgot about this one (Duh Bullwinkle). You also get the reverse side of each print chock full of notations providing context, captions, freelance payment fees etc. Come on, what are you waiting for?

Horace Bristol (1909-1997) Tunnel Entrance with Lamp, Los Angeles, 1932

Jesse Alexander (born 1929). Grand Prix of France, Reims (Ferrari 553), 1954, Gelatin silver print, printed later, signed in ink in the margin.

O. Winston Link (1914-2000) Hot Shot Eastbound at the Iaeger Drive-in, West Virginia, 1956

André Kertész (1894-1985), Martinique, 1972. Gelatin silver print,

Bruce Jackson Photos: Doing Time On a Southern Prison Farm - “In the summer of 1964, Bruce Jackson—then a junior fellow at Harvard—arrived in Texas to record work songs on several state prison farms. He was researching the music and folk culture of incarcerated men, a project that had earlier steered him to Indiana State Prison and Missouri Penitentiary. Landing in Texas was essentially dumb luck; Jackson had family there, and knew that the Lone Star State claimed many of the country’s harshest prison farms. Besides audio equipment, he also brought a 35mm Nikon with which he intended to create a visual diary of the inmates he met. Fifteen years and thousands of photos later, the diary had become more like an encyclopedia.”

Peter Beard b. 1938, I’ll Write Whenever I Can, Koobi Fora, Lake Rudolf, Kenya, 1965. Gelatin silver print, printed 2000 with ink, paint, drawings by the artists Kivoi Mathenge, E. Mwangi Kuria and affixed photographs, magazine cuttings, leaves and feathers.

“Passion’ is a word which could be applied to Peter Beard on a myriad of levels. A man described as ‘half Tarzan, half Byron’ by Bob Colacello (the author of Holy Terror, a biographical memoir of Andy Warhol), to others he is a Darwinian rock star who wields the instruments of photography and collage as his weapons of choice. Creating heightened representations of nature, he incorporates its raw and majestic brutality, but also employs narrative and sometimes literature to convey an urgent message about how we humans exist in our environment, causing both personal and global catastrophe.” — A. Graham, P. Beard, Eyelids of Morning: The Mingled Destinies of Crocodiles and Men, San Francisco: Chronicle Books, 1990, p. 218

“For a long time now there has been an image of Cartier-Bresson as a turbulent Buddhist, an anarchist, a rebel. This is a well known and accurate portrait. Who has not known his rages, his glamour, his generosity, his eternal impulsiveness? If, however, he had been merely that, apart from the fact that his reputation might quickly have been lost down paths which are now rather well-trodden, indignation alone not being enough on which to base a work, he would not have revealed the qualities which allow one to say that he has possibly the best eye of any photographer of our age.” Jean Clair, 1997

Irving Penn, 1917-2009, Bee on Lips, New York, September 22, 1995. Dye transfer print, printed 1999. Apart from the electric beauty literally buzzing from the image there is also a strange under-current of noir – association with the darker side of surrealism and an aura of potential horror.

Josef Koudelka b. 1938, Invasion, Prague, August, 1968 Inkjet Print, Printed 2008.

Robert Frank, B. 1924 Paris, Man On Motorcycle. 1949