Podcasts about Edward Steichen

Labour Day? It's Legacy Links Day – tadaaa! The first of its kind

Bis Enn August kënnt Dir am Mudam sengem gliesene Leir Pavillon d'Expo "Monsieur Steichen" gesinn. Déi amerikanesch Kënschtlerin Lisa Oppenheim, Joergang 1975, war domat beoptraagt ginn, op dem Edward Steichen säi facettëräicht Wierk ze reagéieren. Déi Erausfuerderung huet d'New Yorkerin gären ugeholl: d'Lisa Oppenheim ass fir hir experimentell Film- a Fotoaarbechte bekannt, fir déi si heefeg selwer net zu enger Kamera gräift, mee, no akribesche Recherchen, Bildmaterial aus Archiven an anere Sammlungen op hir Manéier verschafft. D'Kerstin Thalau ass vun der Lisa Oppenheim ënner anerem gewuer ginn, firwat den Edward Steichen fir si ee vun de mysteriéiste Personnagë vum 20. Joerhonnert war.

Offiziell ass tëschent dësem Freideg, 22. November, an dem Sonndeg, 24. November, déi 10. Luxembourg Art Week. D'Zelt um Glacis steet, a vu muer un huelen d'Art-Week-Evenementer rasant zou. Esou kënnt Dir muer (21.11.) tëschent 14 a 15 Auer an der Art Talks Area d'Konferenz “20 Joer Edward Steichen Award Luxembourg” lauschtere goen. Mam Award ausgezeechent goufe jo ufanks November d'Performerinne Clio van Aerde vu Lëtzebuerg plus d'Marianne Villière vun Nanzeg. Bedeit fir déi éischt 4 Méint Kënschtlerinne-Residenz zu New York, fir déi zweet 6 Méint. D'Clio van Aerde war doropshi scho Live-Invitée bei Kultur um 5. D'Kerstin Thalau hat elo och Geleeënheet mat der Marianne Villière ze schwätzen.

During the Pandemic, commercial and fine art photographer Beth Galton created an art piece that eventually turned into an art book she titled, Covid Diary. Now she has started a Kickstarter to help her fully realize the scope of this passion project.  On this episode, we're talking about the Covid Diary, which is on its final fundraising stretch. We discuss the origin of the project, its evolution, and how this experience has helped Beth grow. Click here to learn more about the kickstarter! About Beth: A born and bred New Yorker, Beth is continually inspired by the sights, sounds, and tastes of the city she calls home. The path to a prolific career as an award-winning New York City photographer began in a childhood animated with Marvel Comics, choral music, a natural science education, flute lessons, and the chaotic and composed meals she had at home and abroad. Photography became her method to synthesize life. Drawn to the organic classicism of Edward Weston, Ansel Adams and Edward Steichen, Beth's work is informed by her sensitivity to how light falls and shapes the subject. Her work is exceptional in its ability to invest her images with emotion. Whether making a photo look so compelling you want to pick it up off the page, or conceptually exploring an idea, she applies her deep knowledge and love of craft to each photograph she creates. Beth's personal warmth and generosity infuse her working and shooting environment. She enjoys creative and collaborative relationships with stylists and Art Directors many of whom she works with again and again. Her images and short films tell stories – the story of memories, of what and how we eat together, a love of nature, and the pleasure of shared experiences. Visit Beth's website.  

Biba Giacchetti"Elliott Erwitt. L'ideale fuggevole"Mostra fotograficaCastiglia di Saluzzo (Cuneo)fino al 23 febbraio 2025Fondazione Arteawww.fondazioneartea.orgElliott Erwitt. L'ideale fuggevole è la prima mostra originale in Italia dopo la scomparsa del grande autore, avvenuta nel novembre 2023, che riunisce fotografie in bianco e nero e a colori.Concepita come la summa della sua arte, il progetto espositivo affianca alle immagini più iconiche opere raramente esposte. Quasi cento gli scatti selezionati, i più amati dall'autore, che la curatrice Biba Giacchetti ha scelto per rendere omaggio alla filosofia di vita e al modo di intendere la fotografia di Erwitt: i celebri ritratti di Marilyn Monroe, Che Guevara, Jack Kerouac, Marlene Dietrich, ma anche fotografie che hanno fatto la storia, come il diverbio tra Richard Nixon e Nikita Chruščëv, il funerale di John Fitzgerald Kennedy, l'indimenticabile match tra Joe Frazier e Muhammad Alì, così come le icone più amate dal pubblico per la loro forza romantica, come il California Kiss, o quelle più intime e private come il tenero scatto alla sua primogenita neonata, distesa sul letto, con la madre che la osserva. Conclude il percorso espositivo una sezione interamente dedicata agli ineffabili cani, metafore antropomorfe della condizione umana.Mostra promossa e organizzata da: Città di Saluzzo e Fondazione ArteaIn collaborazione con: Fondazione Amleto Bertoni, Terres Monviso, Orion57Con il contributo di: Fondazione CRC, Fondazione CRT, ATL – Azienda Turistica Locale del CuneeseChi era Elliott ErwittNato a Parigi nel 1928 da genitori ebrei trascorse l'infanzia a Milano, fino al 1939, quando dovette trasferirsi negli Stati Uniti con la famiglia per fuggire dalle leggi razziali. Un uomo che parlava tante lingue e assorbi la cultura di questi paesi. Ebbe quattro mogli, sei figli e un grande numero di nipoti.Dopo l'adolescenza ad Hollywood e gli studi in fotografia a Los Angeles e New York, conobbe Robert Capa, Edward Steichen e Roy Stryker, divenuti suoi mentori. Quest'ultimo lo assunse alla Standard Oil Company per la quale lavorò ad un libro fotografico e ad un reportage sulla città di Pittsburgh. Nel 1953 Robert Capa lo chiamò nell' agenzia Magnum e dal 1960 al 1963 ne fu presidente; oltre a collaborare con riviste del calibro di “Life”, dagli anni ‘70 si concentrò maggiormente sul cinema, realizzando film e documentari e negli anni ‘80 commedie satiriche oper la televisione. Dagli anni Novanta ha svolto una intensa vita professionale che tocca gli aspetti più disparati della fotografia. Ad oggi i libri pubblicati da Erwitt sono più di 45. Ha presentato i suoi lavori nelle piu prestigiose sedi espositive del mondo. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Steichen wasn't just focused on the American scene; he had an international lens on his artistic microscope. He organised shows and made crucial acquisitions from Europe and Latin America, sometimes even hopping on a plane to do so. Under his reign, the Department published three books, including the famous "The Family of Man". Find out more at www.bourgmeisterin.com!

In the ancient era before Instagram influencers descended upon us like a well-dressed plague, fashion photography had humble beginnings. Picture this: engravings copied from photos of actresses trying to out-fashion each other, because who needs filters when you've got corsets? Find out more at www.bourgmeisterin.com!

Steichen wasn't just focused on the American scene; he had an international lens on his artistic microscope. He organised shows and made crucial acquisitions from Europe and Latin America, sometimes even hopping on a plane to do so. Under his reign, the Department published three books, including the famous "The Family of Man." Despite his solid career, Steichen did the ultimate flex – he held a retrospective of his own work, "Steichen the Photographer," at MoMA. And when did he decide to do this? Only after announcing his retirement in 1961. Because, you know, retirement is for those who need a break, not for the photography maestros. Find out more at www.bourgmeisterin.com!

Next in our 'Blink' summer series, Kim speaks with Robyn Asleson, curator of the 'Brilliant Exiles' exhibition, about a dreamy painting that holds a secret code. Edward Steichen's mural assigns a flower to several female friends who planted themselves in Paris's modernist milieu. But where some see jewel-toned beauty, Robyn sees a minefield.In Exaltation of Flowers, by Edward Steichen

Once upon a time, in the magical land of Luxembourgerica, there lived a wizard named Édouard (Edward) Jean Steichen. But hold on, he wasn't your typical robe-clad, wand-waving wizard – oh no, he was a photographer, painter, and curator extraordinaire! This guy, Steichen, was basically the OG of turning pictures into highbrow masterpieces. He practically sprinkled fairy dust on snapshots and turned them into art. Alfred Stieglitz, the godfather of photography, practically had Steichen's photos on his bedroom walls. LeBron of photography, no less

Den Edward Steichen zielt zu de bedeitendste Fotografen aus dem leschte Joerhonnert. Hien war e Pionéier an der Fashion-Fotografie a mat sengem Wierk huet hie verursaacht, datt d'Fotografie als eng Konschtform ugesi gëtt. Op der ieweschter Etage vum Nationalmusée um Fëschmaart sinn den Ament e puer Dosen Aarbechte vun him ausgestallt. Verschiddener esouguer fir déi alleréischte Kéier. De Joé Birchen war bis op d'Plaz, an huet eis e puer Andréck matbruecht.

O Nationalmusée um Fëschmaart apresentou duas exposições, nomeadamente, Collections/Revelations Modern and Contemporary Art e From aerial views to pink suits. A fresh perspective on Edward Steichen. Lise Hausemer, comissária da exposição, foi convidada de Ana Cristina Gonçalves no programa MusicArte da Radio Latina. Informações suplementares no site do museu.

Denise Bethel joined Swann Galleries in 1980, soon after photographs auctions were inaugurated in New York.  After a decade at Swann, she moved to Sotheby's in 1990, where she rose from senior specialist to Chairman of the Department in her 25 years there. At Sotheby's, she set records in a host of categories, among them the record for any photographs auction worldwide, at $21.3 million, in December 2014. She orchestrated the sales of no less than eight of the eleven classic photographs that have sold at auction to date for over $1 million or more, and she wielded the gavel for all of them. One of these, Edward Steichen's "The Pond, Moonlight," at $2.93 million in 2006, is still the world record for any classic photograph at auction. In this episode, Denise and I discuss the first half of her auction career at Swann Galleries, here in New York City.  She transformed what was then known as Photographica sales into Photographs auctions, impacting the way people think about buying and collecting photographs.  This is the Expert Eye.

“Regarde !”150 ans de livres de photographies pour les enfantsà la Maison de la Photographie Robert Doisneau, Gentillydu 1er mars au 31 mai 2024Interview de Laurence Le Guen, autrice du livre « 150 ans de photolittérature pour les enfants » publié aux éditions MeMo et commissaire de l'exposition,par Anne-Frédérique Fer, à Gentilly, le 26 février 2024, durée 25'07,© FranceFineArt.https://francefineart.com/2024/02/29/3519_regarde_maison-de-la-photographie-robert-doisneau/Communiqué de presseCommissariat : Laurence Le Guen, autrice d'une thèse sur les ouvrages photographiques pour enfants, chercheuse associée au laboratoire du Cellam à l'université Rennes 2, membre de l'Afreloce et professeure de lettres.L'exposition est composée de prêts issus de collections publiques (Fonds patrimonial Heure Joyeuse – Médiathèque Françoise Sagan) et de prêts issus de collections particulières Née au XIXème siècle, la photographie investit très tôt le livre, afin de pouvoir être diffusée efficacement au plus grand nombre. Loin de réserver ce canal de diffusion aux adultes, les photographes voient là une possibilité de conquérir un nouveau public : les enfants. Collaborant avec des écrivains, ils s'essaient avec entrain à la création d'ouvrages pour la jeunesse, et font preuve d'une très grande inventivité pour créer autour de leurs images des fictions, des livres d'apprentissage ou des albums novateurs.Ces créations dites photolittéraires sont le reflet de leur époque, témoignent de la variété des courants pédagogiques, esthétiques et politiques, mais aussi des avancées techniques qui accompagnent le développement de la photographie.Longtemps la photographie fut la mal aimée des livres pour enfants. Aujourd'hui encore, la photographie reste marginale en littérature jeunesse et le livre photo-illustré souffre toujours d'un manque de reconnaissance. Pourtant, depuis quelques années, on redécouvre l'importance et la variété de cette abondante production. On se rend compte que bon nombre de grands photographes ont contribué activement à son histoire : Ansel Adams, Laure Albin-Guillot, Claude Cahun, Edward Curtis, Dominique Darbois, Robert Doisneau, Hannah Höch, Frank Horvat, André Kertész, François Kollar, Ergy Landau, Jacques-Henri Lartigue, Thérèse Le Prat, Duane Michals, Annette Messager, Sarah Moon, Marc Riboud, Alexander Rodtchenko, Cindy Sherman, Emmanuel Sougez, Edward Steichen, William Wegman, pour lesquels ces livres font pleinement partie de leurs oeuvres.Bien plus, des titres signés des maîtres de la photographie sont réédités et figurent désormais dans les rayonnages des bibliothèques enfantines. Ainsi, les assemblages d'objets hétéroclites de la photographe surréaliste Claude Cahun (1894-1954) pour le Coeur de Pic sont de nouveau accessibles. La fourrure des oursons de la photographe animalière Ylla (1911-1955) est plus soyeuse que jamais. Et les jeunes lecteurs peuvent désormais admirer la profondeur du noir et blanc des images du photographe japonais Eiköh Hosoe (né en 1933) dans Taka-Chan et moi.La Maison de la Photographie Robert Doisneau invite aujourd'hui le public à redécouvrir l'histoire de cette production rarement présentée au public par les institutions.[...]Laurence Le Guen, Commissaire de l'exposition Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Testo e foto di openIA Testo trasformato in audio progetto cultura per ipovedenti di @teparehttps://youtu.be/EeZ2bldNrQk?s...

In this episode of PhotoWork with Sasha Wolf, Sasha is joined by photographer John Gossage to discuss John's long and storied life in photography. John talks at length about his encounters, both positive and negative, with some of photography's towering historical figures from Lisette Model to Edward Steichen. John discusses the origins of his renowned work, The Pond, and how getting the book published was a real challenge. http://stephendaitergallery.com/artists/john-gossage/ John Gossage (1946- ) born in Staten Island, New York is an artist who has, more than most contemporary photographers, become noted for his intellectually engaging, subversive and well-crafted artist books and other publications. In them the artist utilizes under-recognized elements of the urban environment: unused and abandoned patches of land; refuse and detritus; barbed wire; graffiti and the like, to explore themes as disparate as surveillance, memory and the relationship between architecture and power. “ Gossage is always about the luxuriance of what goes unnoticed, what goes unseen until his pictures call your attention to it,” wrote Gus Blaisdell in The Romance Industry, ( Nazraeli Press, 2001). Gossage photographs that which has just occurred, from markings on a wall to a table after a meal, to remind us that we may have already forgotten it happened or that we were there. By asking us look at what we have misplaced or abandoned he brings us face to face with the present as it becomes history. Throughout the 1980s Berlin became Gossage's overriding focus. Berlin, with its Wall, and unwanted histories – both forgotten and remembered – became the place where Gossage first explored the ideas that have come to symbolize his very personalized style of photographic storytelling. BERLIN IN THE TIME OF THE WALL was published by Loosestrife Editions in 2004.In 2010, Aperture re-issued and updated The Pond, a groundbreaking visual meditation on Thoreau's stay at Walden Pond. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

This is the 2nd interview with Joel-Peter Witkin on this program, the fist one can be found here. Note: All the images discussed in order in the interview can be seen here. Joel-Peter Witkin was born in Brooklyn, New York in 1939. In 1959, Edward Steichen, head of the department of photography at The Museum of Modern Art (MoMA), selected one of Witkin's photographs for its permanent collection when Witkin is 16 years old. Enlists in the U.S. Army as a photographer from 1961-1964. In 1974 he receives a B.F.A. in sculpture from The Cooper Union, the same year awarded a fellowship in writing from Columbia University. In 1976 he receives a M.A. in Photography from the University of New Mexico, and then 1986 he receives a M.F.A. from the University of New Mexico. He has won numerous awards including four National Endowments in photography and the I.C.P. Infinity Award. His photographs have been exhibited internationally and are included in many museum collections including the Metropolitan Museum of Art (USA), Centro de Arte Reina Sofia (Spain), The Museum of Modern Art (MoMA) (USA), Centre Georges Pompidou (France), The Guggenheim Museum (USA), The J. Paul Getty Museum (USA), The Whitney Museum (USA), and Victoria and Albert Museum (V&A) (England). Other achievements include Decorated Chevalier de l'Ordre des Arts et des Lettres in 1990 and Commandeur des Arts et des Lettres of France in 2000. Over thirty books have been published on his work. Joel-Peter Witkin lives and works in Albuquerque, New Mexico with his wife Cynthia. Joel-Peter Witkin is a photographer whose images of the human condition are undeniably powerful. For more than forty years, he has pursued his interest in spirituality and how it impacts the physical world in which we exist. Finding beauty within the grotesque, Witkin pursues this complex issue through people most often cast aside by society-human spectacles including hermaphrodites, dwarfs, amputees, androgynies, carcasses, people with odd physical anomalies, fetishists, and “any living myth… anyone bearing the wounds of Christ”. His fascination with other people's physicality has inspired works that confront our sense of normalcy and decency while constantly examining the teachings handed down through Christianity. His constant reference to paintings from art history including the works of Picasso, Balthus, Goya, Velasquez and Miro are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly redefining its present-day context. Visiting medical schools, morgues and insane asylums around the world, Witkin seeks out his collaborators who, in the end, represent the numerous personas of the artist himself. The resulting photographs are haunting, beautiful and grotesque yet bold in their defiance hideous beauty that is as compelling as it is taboo. Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made, rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration. Joel-Peter Witkin lets us look into his created world which is both frightening and fascinating as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery we gain a greater understanding about human difference and tolerance. “My work is based on the nature of man and his relation to the divine. In the work, I attempt to establish a creative and intellectual standard for still photography in a society in moral free fall.” – Joel-Peter Witkin

“Frank Horvat” Paris, le monde, la modeau Jeu de Paume, Parisdu 16 juin au 17 septembre 2023Interview de Fiammetta Horvat, fille de Frank Horvat, directrice des Archives Frank Horvat,par Anne-Frédérique Fer,à Paris, le 15 juin 2023, durée 18'24,© FranceFineArt.https://francefineart.com/2023/06/15/3457_frank-horvat_jeu-de-paume/Communiqué de presseCommissariat : Virginie Chardin, commissaire d'exposition indépendanteLe Jeu de Paume présente la plus grande exposition consacrée au photographe Frank Horvat depuis son décès le 21 octobre 2020. À travers 170 tirages et 70 documents d'archive, « Frank Horvat. Paris, le monde, la mode » se concentre sur les quinze premières années d'une carrière exceptionnelle. Entre 1950 et 1965, Horvat affirme une personnalité hors norme d'auteur-reporter et de photographe de mode. L'exposition apporte une vision renouvelée sur l'oeuvre de cet acteur majeur de la photographie française et européenne.Né à Abbazia en Italie en 1928, de parents juifs originaires d'Europe Centrale, Francesco Horvat est contraint de se réfugier en 1939 en Suisse, près de Lugano, avec sa mère et sa soeur. Parti pour Milan après la guerre, il s'essaie au métier de publicitaire puis de photographe. Ses premières images sont publiées au début des années 1950 par les journaux italiens et suisses Epoca, Die Woche et Sie und Er. Admirateur d'Henri Cartier-Bresson auquel il rend visite à Paris en 1951 dans l'espoir d'intégrer l'agence Magnum, il acquiert un Leica et effectue un premier voyage initiatique au Pakistan et en Inde de 1952 à 1954. Parvenant à capter en gros plans des scènes d'une grande intensité et parfois des lieux interdits, il se révèle comme un photographe du corps et de l'intime.À la suite de Die Woche, les grands magazines internationaux Paris-Match, Picture Post, Le Ore ou Life le publient sous le nom de Franco, puis de Frank Horvat, et Edward Steichen sélectionne une de ses images du Pakistan pour la célèbre exposition The Family of Man au Musée d'art moderne de New York (MoMA). Sa carrière de photo-reporter se poursuit à Londres et à Paris où il s'installe fin 1955. Dans ses reportages sur les nuits parisiennes, strip-tease, cabarets, music-halls voire lieux de prostitution, il capte autant l'attitude des spectateurs-voyeurs que le spectacle lui-même.C'est à cette période qu'il acquiert un téléobjectif Novoflex et s'essaie à un grand nombre de points de vue inédits sur Paris, exacerbant par un effet de grain, de contraste et d'écrasement des plans, la saturation de l'espace public et l'anonymat de la foule. Romeo Martinez, éditeur et rédacteur-en-chef de la revue Camera, consacre vingt pages à ce travail dans le numéro de janvier 1957 et l'expose à la Première Biennale de Photographie de Venise la même année.Ce sont ces images de rue, reprises dans plusieurs revues photographiques européennes, qui paradoxalement, le conduisent vers l'univers de la mode. Par l'intermédiaire de William Klein, qui a remarqué ses images dans Camera, il entre en relation avec Jacques Moutin, le directeur artistique de Jardin des Modes.Ce dernier lui propose de transposer son style de photographie urbaine, granuleuse, en lumière naturelle et en petit format, dans la mise en scène des collections de mode et particulièrement du prêt-à-porter, alors en pleine explosion. C'est grâce à lui qu'il réalise ses images les plus célèbres, comme Tan Arnold au Chien qui fume ou celle de la femme au chapeau Givenchy observant aux jumelles une course imaginaire. [....] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Formerly a photographer and founder of The Center for Photography in Woodstock in 1977, Howard Greenberg has been one of a small group of gallerists, curators and historians responsible for the creation and development of the modern market for photography. Howard Greenberg Gallery—founded in 1981 and originally known as Photofind—was the first to consistently exhibit photojournalism and 'street' photography, now accepted as important components of photographic art. Howard Greenberg Gallery maintains diverse and extensive holdings of photographic prints including Eugène Atget, Henri Cartier-Bresson, Bruce Davidson, André Kertész, William Klein, Gordon Parks, Edward Steichen, Paul Strand, Josef Sudek, and Edward Weston on its roster of artists. More recent additions include Edward Burtynsky, Jungjin Lee, Joel Meyerowitz, and Vivian Maier. In 2013 Howard Greenberg Gallery announced exclusive representation for the estates of Berenice Abbott and Arnold Newman. In 2018 Howard Greenberg Gallery became the primary representative of the Ray K. Metzker Archive. In 2019 Greenberg sold 447 photographs from his collection to the Museum of Fine Art in Boston. This conversation took place over Zoom in January 2023.

An exhibition entitled Edward Steichen - The Artist's view is currently on display at the national museum of history and art (MNHA). The exhibition brings together Dutch photographer Erwin Olaf and Belgian visual artist Hans Op de Beeck to bring their unique perspective on the museum's collection of photo prints by the celebrated Luxembourgish Photographer Edward Steichen. Lis Hausemer, assistant curator of the exhibition joined Tom on the Breakfast Show this morning to talk to us about it. Edward Steichen was born in Luxembourg in 1879. After emigrating to the USA at a young age, Steichen went on to become photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography. The MNHA possesses a large collection of Edward Steichen prints that were gifted to the museum after the photographers death. For this exhibition they have enlisted Olaf and Op de Beek to present their own influence and interpretation of Steichen's work through a selection of his photos. The exhibition is free to enter and will be on display until the 4th of June. Find more information here: https://www.mnha.lu/fr/expositions/edward-steichen-1879-1973-the-artists-view

Visite, até 11 de junho deste ano, no Museu Nacional de História e de Arte (MNHA), a exposição que assinala os 50 anos da morte do artista luxemburguês Edward Steichen através de dois artistas contemporâneos, o fotógrafo holandês Erwin Olaf e o artista visual belga Hany Op de Beeck. Ruud Priem, comissário da exposição, foi convidado de Ana Cristina Gonçalves no programa MusicArte na Radio Latina. Saiba mais sobre esta e outras exposições no site do MNHA.

Joel-Peter Witkin at the time the photographs were made that are discussed in this interview. Joel-Peter Witkin was born in Brooklyn, New York in 1939. In 1959, Edward Steichen, head of the department of photography at The Museum of Modern Art (MoMA), selected one of Witkin's photographs for its permanent collection when Witkin is 16 years old. Enlists in the U.S. Army as a photographer from 1961-1964. In 1974 he receives a B.F.A. in sculpture from The Cooper Union, the same year awarded a fellowship in writing from Columbia University. In 1976 he receives a M.A. in Photography from the University of New Mexico, and then 1986 he receives a M.F.A. from the University of New Mexico. He has won numerous awards including four National Endowments in photography and the I.C.P. Infinity Award. His photographs have been exhibited internationally and are included in many museum collections including the Metropolitan Museum of Art (USA), Centro de Arte Reina Sofia (Spain), The Museum of Modern Art (MoMA) (USA), Centre Georges Pompidou (France), The Guggenheim Museum (USA), The J. Paul Getty Museum (USA), The Whitney Museum (USA), and Victoria and Albert Museum (V&A) (England). Other achievements include Decorated Chevalier de l'Ordre des Arts et des Lettres in 1990 and Commandeur des Arts et des Lettres of France in 2000. Over thirty books have been published on his work. Joel-Peter Witkin lives and works in Albuquerque, New Mexico with his wife Cynthia. Joel-Peter Witkin is a photographer whose images of the human condition are undeniably powerful. For more than forty years, he has pursued his interest in spirituality and how it impacts the physical world in which we exist. Finding beauty within the grotesque, Witkin pursues this complex issue through people most often cast aside by society-human spectacles including hermaphrodites, dwarfs, amputees, androgynies, carcasses, people with odd physical anomalies, fetishists, and “any living myth... anyone bearing the wounds of Christ”. His fascination with other people's physicality has inspired works that confront our sense of normalcy and decency while constantly examining the teachings handed down through Christianity. His constant reference to paintings from art history including the works of Picasso, Balthus, Goya, Velasquez and Miro are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly redefining its present-day context. Visiting medical schools, morgues and insane asylums around the world, Witkin seeks out his collaborators who, in the end, represent the numerous personas of the artist himself. The resulting photographs are haunting, beautiful and grotesque yet bold in their defiance hideous beauty that is as compelling as it is taboo. Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made, rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration. Joel-Peter Witkin lets us look into his created world which is both frightening and fascinating as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery we gain a greater understanding about human difference and tolerance. “My work is based on the nature of man and his relation to the divine. In the work, I attempt to establish a creative and intellectual standard for still photography in a society in moral free fall.” - Joel-Peter Witkin Note: All the images discussed in order in the interview can be seen here. Joel-Peter Witkin (b. 1939) Contemporary Images of Christ: Roof: Rest After The Passion (Batman and Christ) Version 2, (Batman with Christ Returns Newspaper),

Dëse Mäerz ass et 50 Joer hier, datt de Béiwenger Edward Steichen mat 94 Joer am Connecticut als bekannte Kënschtler, Fotograf a Curateur gestuerwen ass. Als Hommage bréngt d'Ekipp vun eisem Nationalmusée eng Publikatioun zu hirer Sammlung vu ronn 180 Steichen-Fotografien eraus: se huet knapps 500 Säiten a bréngt dräi an en hallwe Kilo op d'Wo! Parallel dozou huet de Chefconservateur vun der Konschtsammlung vum MNHA, de Ruud Priem, eng interessant Expo konzipéiert: hie konfrontéiert schwaarzwäiss Naturopname vum Edward Steichen, aus den Ufanksjoren, mat -éischtens- giganteschen Naturfotoen a schwaarzwäiss am grousse Format vum hollännesche Fotograf Erwin Olaf an -zweetens- mat schwaarzwäisse Waasserfaarf-Molereien a Skulpturen vum belsche Kënschtler Hans Op de Beeck. Doduerch entsteet eng Aart Dramwelt, eng interessant Twilightzon. Dozou de Ruud Priem um Mikro vum Kerstin Thalau

“1, 2, 3… Couleur !” L'autochrome exposéeau Jeu de Paume – Château de Tours, Toursdu 2 décembre 2022 au 28 mai 2023Interview de Quentin Bajac, directeur du Jeu de Paume et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 1er décembre 2022, durée 14'28. © FranceFineArt.https://francefineart.com/2022/12/03/3359_autochrome_chateau-de-tours/Communiqué de presse Commissaires :Soizic Audouard, Élizabeth Nora pour la Collection ANQuentin Bajac, directeur du Jeu de PaumeExposition conçue et organisée par le Jeu de Paume, en collaboration avec la Collection AN, la Médiathèque du patrimoine et de la photographie et la Ville de Tours.IntroductionAu cours de son histoire de près de deux siècles, la photographie n'a cessé de se réinventer au gré des mutations techniques. L'Autochrome, commercialisée à partir de 1907 et emblématique de l'arrivée de la couleur en photographie, constitue l'une de ces révolutions. Le grand photographe américain Edward Steichen (1879-1973) écrivait à son propos qu'il s'agissait du « plus beau procédé que la photographie nous ait jamais donné pour traduire la nature ». L'engouement pour la nouvelle technique fut en effet à la fois intense et relativement bref : il dura un peu plus de deux décennies, le procédé tombant progressivement en désuétude dans les années 1920 et 1930. L'autochrome traversa par la suite une longue période d'oubli. Trop fragile, trop difficile à exposer, non reproductible, elle fut pendant longtemps l'un des grands délaissés de la photographie, telle une branche morte qui semblait n'avoir donné que de trop rares fruits.De cet abandon, l'autochrome a été tirée depuis deux décennies par quelques historiens et collectionneurs qui, à contre-courant, ont su en apprécier la finesse, la sensualité, l'étrangeté.L'exposition 1,2,3… Couleur ! L'autochrome exposée rassemble 176 oeuvres issues de deux collections, dont une quarantaine de plaques originales. La diversité des autochromes présentées illustre la très large utilisation de ce support au sein de la société, des photographes anonymes ou de renom au service photographique des armées.Accompagnant l'exposition présentée au château de Tours, l'album qui sera édité est une contribution à ce renouveau d'intérêt illustré par les deux collections. D'une part, la collection AN réunie depuis 2006 par Soizic Audouard et Élizabeth Nora, qui par sa très grande qualité et sa diversité constitue une merveilleuse introduction à l'esthétique très singulière de l'autochrome. De l'autre, le fascinant fonds d'autochromes de la Première Guerre mondiale conservé à la Médiathèque du patrimoine et de la photographie. Cette sélection, si riche soit-elle, n'a pas vocation à relater une histoire du procédé mais se veut davantage une introduction.Nous espérons qu'elle sensibilisera le public à cette poésie si particulière de l'autochrome et donnera à voir comment la photographie a pu se réinventer, plus d'un demi-siècle après sa conception.Quentin Bajac, directeur du Jeu de Paume Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Gary gets a new lens and is determined to unravel the mystery of Booray on a stick. Booray smoothly navigates an almost Photo Booth catastrophe and has some Fuji XH-2 woes. The fellas find a table at the cafeteria of life and wonder why dads are always given such high praise from society. In photography news, Capture One, Sigma's new 18X50mm f2.8 lens for FujiFilm X Mount, Elinchrom lighting, Edward Steichen's Flat iron sells, David Bailey sells Polaroids, JPEG mini adds video compression, Canon Webcam Utility, Ricoh Pentax DSLR, Canva AI, Lika news, and Nikon Z Fc. Save 50% on your first year with 17 Hats using the code "photobomb" at checkout just go to www.17hats.comCheck out Gary's YouTube channel HERE.Check out Booray's YouTube channel HERE.Join our Facebook Group, the Bombardiers Lounge

In this episode of the Fine Art Photography Podcast, we discuss Edward Steichen's 1905 Flatiron photograph, which auctioned at an astounding $10 Million -- a lot of money but not the highest price for a photograph ever! See the Flatiron in Christie's auction guide here: https://issuu.com/christiesstudio/docs/nyc2201001_salecat?fr=sYmE5MDUzNDgyOTQ Full episode transcripts are available on my photography blog here: icatchshadows.com How to Support the Podcast Make a one-time donation: https://ko-fi.com/keithdotson Subscribe on Patreon: https://www.patreon.com/keithdotson Buy a fine art print: https://keithdotson.com Buy a copy of my book: https://amzn.to/3jFnxqv (Amazon affiliate link) *Contains Amazon Affiliate links. I may earn a small commission on qualifying purchases. --- Support this podcast: https://anchor.fm/keith-dotson/support

In this episode of the Fine Art Photography Podcast, we discuss Edward Steichen's 1905 Flatiron photograph, which auctioned at an astounding $10 Million -- a lot of money but not the highest price for a photograph ever! See the Flatiron in Christie's auction guide here: https://issuu.com/christiesstudio/docs/nyc2201001_salecat?fr=sYmE5MDUzNDgyOTQ Full episode transcripts are available on my photography blog here: icatchshadows.com How to Support the Podcast Make a one-time donation: https://ko-fi.com/keithdotson Subscribe on Patreon: https://www.patreon.com/keithdotson Buy a fine art print: https://keithdotson.com Buy a copy of my book: https://amzn.to/3jFnxqv (Amazon affiliate link) *Contains Amazon Affiliate links. I may earn a small commission on qualifying purchases. --- Support this podcast: https://anchor.fm/keith-dotson/support

Edward Steichen wird als der einflussreichste Fotograf des 20. Jahrhunderts bezeichnet. Er war nicht nur durch seine eigene Fotografie stilprägend und erfolgreich sondern besonders als Direktor der fotografischen Abteilung des Museum of Modern Art in New York richtungsweisend. Er prägte die Karrieren unzählicher Fotograf:innen und kuratierte einige der berühmtesten Ausstellungen seiner Zeit. Eine dieser Ausstellungen, The Family of Man, ist bis heute unerreicht.

The Flatiron, vous savez, c'est ce bâtiment iconique de New York, celui en forme de fer à repasser. Et c'est surtout le sujet de la fameuse photographie d'Edward Steichen et de cet épisode.Découvrez le travail de ce new yorkais d'adoption. Prise en 1904, sa photographie vous emmène au croisement entre Broadway et la fameuse 5e Avenue. Maniant tous les genres, aussi bien le pictorialisme que la straight photography, Steichen a capturé un réel instant de poésie. Sa photographie donne vraiment envie de tout plaquer pour partir à New York voir le Flatiron Building.Cliquez ici pour voir l'oeuvreAuteure des textes : Anne SchmauchDirection Editoriale: Pénélope BoeufVoix : Pénélope BoeufProduction : La Toile Sur Écoute Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Emma and Christy look at Lee Miller's photographs Untitled (Severed Breast from Radical Surgery in a Place Setting I) and (II) (c. 1929) and talk about double mastectomies, fragmented bodies, feminist(?) art, Georges Bataille… and recipes for ‘cauliflower breasts'. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. IMAGES DISCUSSED: Lee Miller, Untitled (Severed Breast from Radical Surgery in a Place Setting I) (c. 1929) Lee Miller, Untitled (Severed Breast from Radical Surgery in a Place Setting II) (c. 1929) Man Ray, Anatomies (1929) Man Ray, Indestructible Object or Object to Be Destroyed (1923, remade 1933, editioned replica 1965) Man Ray, Observatory Time: The Lovers (1932) Roland Penrose, Lee Miller with Body Cast, known as ‘Bewitches Witch' (1942) Man Ray, Minotaur (1933) Man Ray, The Return to Reason(1923) Photograph by Edward Steichen, Lee Miller in a Kotex ad (1928) Jo Spence, Property of Jo Spence? (1982) CREDITS: ‘Drawing Blood' was made possible with funding from the Experimental Humanities Collaborative Network. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

Portrait de Sabine Weiss : © Peter Adams « Ça vous étonnerait mais je connais très peu les photographes, j’ai eu une vie extrêmement chargée, occupée par ma vie privée, mon mari, mes voyages, ma fille, les bons dîners à faire, beaucoup de copains. Et il n’y avait pas non plus beaucoup d’expositions ». Dans la première partie de notre podcast « L’Œil écoute » consacré à Sabine Weiss, on apprenait comment, fille d’un chimiste-inventeur genevois, elle était venue à la photographie d’abord par la technique. Bricoleuse assoiffée de curiosités, elle n’était entrée dans le métier de photographe professionnelle qu’en arrivant à Paris, point de départ d’une carrière foisonnante. Dans ce second épisode, la dernière lauréate du prix Women in Motion remis par la Fondation Kering en collaboration avec les Rencontres d’Arles revient sur l’ambiance des agences photo pour lesquelles elle a travaillé depuis les années 1950, Rapho en tête, raconte sa rencontre avec Edward Steichen, son exposition à l’Art Institute of Chicago, commente sa volonté de ne pas se cantonner à la photographie de reportage mais de s’intéresser à la photographie sous toutes ses formes, ainsi qu’à tous les sujets. Témoin des bouleversements de nos sociétés urbanisées et des grands événements des années 1960, qu’elle a documentés avec passion, elle s’est surtout intéressée aux gens de la rue et leur vie au quotidien, sans se soucier de savoir si son travail aurait valeur, un jour, de document mémoriel ou de trace pour l’histoire. Elle s’amuse d’ailleurs d’avoir oublié tant de ses images et planches-contacts… Nous vous laissons en très bonne compagnie aux côtés de Sabine Weiss, interrogée par Yannick Le Guillanton.

"Me, Family" sollt DÉI grouss Attraktioun am Mudam ginn: d'Foto- a Video-Expo war vun dräi italieenesche Konschtspezialiste fir sämtlech Niveauen a Galerië vum Pei-Musée, als zäitgenëssesch Ergänzung fir dem Edward Steichen seng berüümt "The Family of Man", konzipéiert ginn. Mee du koumen d'Corona-Restriktiounen, an de Montage mat 24 Kënschtler aus 14 Länner war net méi méiglech. Schliisslech gouf "Me, family" als digital Plattform lancéiert. An esouguer d'Presentatioun vum Projet war digital, also iwwer Zoom. D'Kerstin Thalau mat den Detailer. 

Dir hat et vläicht den 22. Januar an eisen Neiegkeete matkritt: den US-President Joe Biden wëllt den New-Start-Vertrag, mat deem d'Zuel vun den Atomwaffen an Amerika an a Russland limitéiert gëtt, ëm fënnef Joer verlängeren. D'Reaktioune vu Moskau ware positiv; ënner dem Donald Trump waren d'Verhandlungen nämlech gescheitert. Och ëm en 22. Januar, allerdéngs viru 66 Joer, ass dem Edward Steichen seng berüümt Foto-Expo "The Family of Man" zu New York opgaangen. Gëtt et do e Bezuch zu der Aktualitéit? Jo, mengen d'Kerstin Thalau an d'Anke Reitz, déi Responsabel vun de Steichen-Collections zu Lëtzebuerg.

"Me, Family" sollt DÉI grouss Attraktioun am Mudam ginn: d'Foto- a Video-Expo war vun dräi italieenesche Konschtspezialiste fir sämtlech Niveauen a Galerië vum Pei-Musée, als zäitgenëssesch Ergänzung fir dem Edward Steichen seng berüümt "The Family of Man", konzipéiert ginn. Mee du koumen d'Corona-Restriktiounen, an de Montage mat 24 Kënschtler aus 14 Länner war net méi méiglech. Schliisslech gouf "Me, family" als digital Plattform lancéiert. Wéinst den neie Covid-19-Mesurë war esouguer d'Presentatioun vum Projet digital, also iwwer Zoom. D'Kerstin Thalau mat den Detailer. 

Wéi fërdert een de Versteesdemech tëschent de Mënschen? Fir den Edward Steichen war d'Äntwert evident: mat Hëllef vun der Fotografie, well déi als universell Sprooch vu jiddwerengem verstane gëtt. Viru 65 Joer hat seng Foto-Ausstellung "Family of Man" hiren éischte Vernissage am MoMA; zanter 1994 ass d'Expo am Klierfer Schlass doheem. 163 amerikanesch a 70 europäesch Fotografe sinn op der "Family of Man" vertrueden. Dorënner erstaunlech vill Fotografinnen. Eng dovunner huet d'Anke Reitz, Conservatrice vun de Steichen Collections, besonnesch impressionéiert. Explikatioune Kerstin Thalau.

Eng un de bedeitendste Musées-Sammlungen fir an zu Lëtzebuerg ass d'"Family of Man". D'Foto-Text-Installatioun vum Edward Steichen ass weltwäit vun iwwer 10 Millioune Mënsche gesi ginn a gehéiert zanter 2003 zum Weltkulturierwen. Zanter 1994 gëtt se als permanent Expo am Klierfer Schlass presentéiert. Da misst jo jidderee se gutt kennen? D'Kerstin Thalau an d'Équipe vu Klierf hunn décidéiert, eenzel Wierker nach emol, oder nei, an Erënnerung ze ruffen. D'Carole Schmit, Konschtenseignante a mat zoustänneg fir de pädagogesche Programm ronderëm d'"Family of Man", huet beim Choix vun enger Foto net laang gezéckt.

"Me, Family" sollt DÉI grouss Fréijoersattraktioun am Mudam ginn: d'Foto- a Video-Expo war vun dräi italieenesche Konschtspezialiste fir sämtlech Niveauen a Galerië vum Pei-Musée, als zäitgenëssesch Ergänzung fir dem Edward Steichen seng berüümt "The Family of Man", konzipéiert ginn. Mee du koum de Lockdown, an de Montage mat 24 Kënschtler aus 14 Länner war net méi méiglech. Den 28. Oktober 2020 gouf "Me, family" als digital Plattform lancéiert. Wéinst der neier Covid-19-Well war esouguer d'Presentatioun vum Projet digital, also iwwer Zoom. D'Kerstin Thalau mat den Detailer.

#7. In this episode of CREATE. PHOTOGRAPHY, we will discuss American photographer Saul Leiter.Biography excerpt from Saul Leiter Foundation"1948 Leiter had begun to experiment in color, largely using Kodachrome 35 mm film past its sell-by date. His main subjects were street scenes and his small circle of friends. Leiter made an enormous and unique contribution to photography with a highly prolific period in New York City in the 1950s. His abstracted forms and radically innovative compositions have a painterly quality that stands out among the work of his New York School contemporaries. His earliest photographs in black-and-white and color show an extraordinary affinity for the medium."Edward Steichen included Leiter’s black-and-white photographs in the exhibition Always the Young Strangers at the Museum of Modern Art in 1953. While Leiter also was working as a professional photographer and also did fashion photography, and while he had had many successes in his long career it was not until 2006, when his book Saul Leiter: Early Color was published by Gerhard Steidl in Germany led to an international breakthrough. This book became an overnight sensation with worldwide distribution and, accordingly to the Leitner foundation, firmly established the artist as an early pioneer in the history of color photography.“I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.” (Saul Leiter)Saul Leiter Book Retrospektive / Retrospective (disclaimer: some of the chapters are written in German)Links to discussed photographs by Saul Leiter:Red umbrellaCanopyMore information about Saul Leiter:http://saulleiterfoundation.orgHighly recommended documentary on Saul Leiter:Documentary: In no great hurry by Tomas Leach (2013)produced by Tomas Leach and Margit Erb (who is the curator and director of the Saul Leiter foundation)Books on Saul Leiter (no affiliate links): https://www.amazon.com/s?k=saul+leiter&ref=nb_sb_noss_2

Zanter 2010 war de Lutz Teutloff a Kontakt mam CNA. De fréiere Moud-Konfektionär, duerno Galerist, da Konschtsammler wollt deen Deel vu senger riseger Privat-Kollektioun, deen e mat "The Contemporary Family of Man" iwwerschriwwen hat, a gudden Hänn wëssen. Vu dat dem Edward Steichen säin Ierwen am CNA versuergt gëtt, huet deen him di ideal Plaz geschéngt. Kuerz ier den Teutloff 2017 gestuerwen ass, si seng knapps 500 Wierker, vun deels renomméierten internationale Kënschtler, an de CNA-Archiver zu Diddeléng ukomm. An zanter hier geet d'Kerstin Thalau se eemol d'Joer besichen.

In this episode we are hosting Céline Condorelli, an incredible artist with a sharp and critical mind. She’s a long-time friend and collaborator. And you will hear how beautifully elaborate Céline is when tackling questions around how artists can position themselves with respect to society, institutions and audiences.“There's certainly the hierarchy of whose work is actually recognized. Like, for example, the artist is named, the cleaning lady is not named, or you know, the people who have built the wall are not named. However, the artist is often the only person in the room who's not being paid, which is also a different kind of hierarchy.”From ecology to work, public spaces to friendship and support, Céline’s inquiries hit the core of cultural production today. Céline Condorelli is an artist, writer, and teacher. She is the founding director of the artist-run space Eastside Projects based in Birmingham. Apart from her highly acclaimed practice, she is best known for the publications she authored such as Support Structures co-edited with Gavin Wade.Condorelli’s work brings ideas, people, and objects together through staging, display, and "support". https://celinecondorelli.euThe Museum of Modern Art in New York has an enormous online archive which contains documentation on the institution's activities as well as the history of art, design, and more. https://www.moma.org/research-and-learning/archives/As Céline pointed out, displaying plants as companions to artworks started in the 1930s and lasted until the 1980s. In 1936, MoMA presented its first and only dedicated flower show, Edward Steichen’s Delphiniums. https://www.moma.org/explore/inside_out/2011/03/08/edward-steichen-archive-delphiniums-blue-and-white-and-pink-too/Opening in 2020, Céline Condorelli has designed a new playground for Elmington Estate, featuring carousels, climbing structures, and colored surfaces. https://www.southlondongallery.org/projects/celine-condorelli/Commissioned by The King’s Cross Project, a program of public temporary and permanent art, Celine has constructed sculptures with built-in seating titled Zanzibar. https://www.kingscross.co.uk/zanzibarCo-programmed with Filipa Ramos and contemporaneously shown at v-drome.org, Céline Condorelli’s Cinema Zagara / Ecodrome, was presented at the “Geometries” held at the Agricultural University of Athens in 2018.Episode recorded on Zoom on July 8th 2020. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

Fir dëse Summer hat d'Équipe vum Mudam Grousses geplangt: eng Zort zäitgenëssesch "Family of Man"-Versioun vun der weltberühmter Expo vum lëtzebuergesch-amerikanesche Fotokënschtler Edward Steichen. Vu datt dofir net just déi intern Mataarbechter gefuerdert gewiescht wieren, ma och en externen Apport néideg war, huet de Projet, aus Confinements-Grënn, op den Hierscht misse verréckelt ginn. An der Tëschendzäit kënnt dir am Pei-Musée d'Ausstellung "Hier, aujourd'hui, demain" entdecken. D'Kerstin Thalau ass vun der Curatrice Marie-Noëlle Farcy méi gewuer ginn.

In episode 100 UNP founder and curator Grant Scott is in his shed reflecting on the past, present and future of photography. Plus this week Grant revisits a conversation he had in 2012 with legendary photographer and filmmaker Wolfgang 'Wolf' Susitsky at his Little Venice, London apartment when Susitsky was 100 years of age. Vienna born Wolfgang 'Wolf' Suschitzky, was a documentary photographer, as well and cinematographer perhaps best known for his collaboration with Paul Rotha in the 1940s and his work on the, classic 1971 film Get Carter. His sister was the photographer and spy Edith Tudor-Hart. Suschitzky's first love was zoology, but he realised he could not make a living in Austria as a zoologist, he studied photography at the School of Design and Graphic Arts in Vienna. The political climate in Austria was changing and being a Socialist and of Jewish origin, Suschitzky left for London in 1934 where his sister had already moved. Suschitzky married a Dutch woman, and they moved to the Netherlands where he photographed postcards for newsagents. His wife left him a year later, which he said was great luck because if he had stayed there, he wouldn't have survived the Nazi occupation. He returned to England in 1935, and began working as a film cameraman for Rotha, with whom he had a long working relationship. In 1940 he held his first exhibition – of animal pictures – in London and published his first book, the “how to” guide Photographing Children, which was followed by Photographing Animals a year later. Suschitzky became increasingly interested in themes prompted by Edward Steichen's The Family of Man exhibition in 1955, and set out to explore how “people are different the world over, and everywhere the same”. His work for Geographical magazine extended into series on the daily lives of people in Burma, Thailand, Yemen, Ethiopia and India. Photography Year Books printed annually in the 1950s and 60s frequently included his images and The World Exhibition of Photography included his work in What Is Man? (1964) and Woman (1968). By the 1980s, Suschitzky was also working in television commercials and was the cinematographer for the children's series Worzel Gummidge (1980-81). In the same decade he began to receive somewhat belated recognition for his photography, in the Art in Exile exhibition in the UK and exhibitions at the Photographers' Gallery, the Camden Arts Centre and Zelda Cheatle Gallery. More recent publications include the retrospective Wolf Suschitzky Photos (2006), and Wolf Suschitzky Films (2010). Seven Decades of Photography appeared in 2014, the same year he was granted an honorary doctorate at the University of Brighton.Suschitzky's photography enjoyed a renaissance this century, with his inclusion in a number of group shows, not least Another London: International Photographers Capture City Life 1930-80 at Tate Britain in 2012. Suschitzky died in October 2016 at the age of 104 in London. You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-lifeand Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His book New Ways of Seeing: The Democratic Language of Photography was published by Bloomsbury Academic in 2019. The documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2020

We revisit our favourite game - this time choosing the fashion photographs we would like to inhabit. See links below. Nick Knight: https://www.nickknight.com/ Edward Steichen, Marion Morehouse, 1927: https://www.gettyimages.co.uk/detail/news-photo/model-marion-morehouse-standing-with-both-hands-on-her-hips-news-photo/507047690 Helmut Newton, Yves Saint-Laurent, Rue Aubriot, French Vogue, Paris (1975): https://www.christies.com/lotfinder/Lot/helmut-newton-19202004-yves-st-laurent-rue-6225247-details.aspx Gordon Parks, Fath Show Stoppers, Paris 1951: http://www.gordonparksfoundation.org/about-gordon-parks/photography-archive/fashion-1948-61?view=slider#19 Gordon Parks on Google Arts & Culture: https://artsandculture.google.com/entity/m02t_dy ‘A Hectic Week of Paris Showings’, Life (5 March 1951): https://books.google.co.uk/books?id=0UsEAAAAMBAJ&lpg=PA102&dq=%22jacques%20fath%22&pg=PA105#v=onepage&q&f=false Franz Xaver Winterhalter, Empress Eugénie Surrounded by her Ladies-in-Waiting (1855): https://commons.wikimedia.org/wiki/File:Winterhalter_Franz_Xavier_The_Empress_Eugenie_Surrounded_by_her_Ladies_in_Waiting.jpg Martin Munkacsi: Stephen Mooallem, ‘Astonish Me: The Making of Harper’s Bazaar’, Harper’s Bazaar (23 February 2017): https://www.harpersbazaar.com/culture/features/a20537/making-of-harpers-bazaar/ Anthony Gordon (photographer), Alex Arts (model), ‘Alex Works: Careering through the Eighties’, The Face No. 100, September 1988 on Paul Gorman Is: https://www.paulgormanis.com/?p=21154

Elements of image composition. Techniques used to create meaning or attract attention. The functions of visual signs. Perspectives on image analysis. Interview with: Michael Martinez, Ph.D., Assistant Professor, School of Journalism & Electronic Media, University of Tennessee Resources: Visual Communication-Images with Messages, by Paul Martin Lester (book) Visual Persuasion-The Role of Images in Advertising, by Paul Messaris (book) The Public Mind-Image & Reality in America, with Bill Moyers (PBS Video) All Consuming Images-The Politics of Style in Contemporary Culture, by Stuart Ewen (book) Visual Intelligence-Perception, Image, & Manipulation in Visual Communication, by Ann Marie Seward Barry (book) Truth Needs No Ally-Inside Photojournalism, by Howard Chapnick (book) Visual Communication Theory and Research: A Mass Communication Perspective, by Sharia, Bock, Wanta (book) Public Opinion-The World Outside & the Pictures in our Head, by Walter Lippmann (book) Picture Theory: Essays on Verbal & Visual Representation, University of Chicago Press (book) Get the Picture: A Personal History of Photojournalism, Random House Publishers (book) On Photography, by Susan Sontag (book) The Family of Man-Photographic Exhibition Created for the Museum of Modern Art, by Edward Steichen (book) Practices of Looking: An Introduction to Visual Culture, by M. Sturken and L. Cartwright (book)

Michel Gauthier has enjoyed a distinguished career in the field of festival events, tourism and recreation. He was instrumental in coordinating the participation of HRH Princess Margriet of the Netherlands in the 50th Anniversary Celebrations of the Canadian Tulip Festival, an organization that he managed from 1992 - 2005. This flagship event draws millions of visitors from all over the world each spring to Canada's capital city. From 1984-1988 he was Executive Director of Winterlude, another of Ottawa's popular festivals. Over the years he has also been active in many national and international associations. He is currently Executive Director of the Canadian Garden Council. Michel holds a Festival Director Certificate from Perdue University and a Recreation Diploma from Algonquin College. I met with him at his home, in his library, to discuss not festivals or tulips, but his other grand passion, photography books. Among other things we talk about nudes, limited editions, black and white contrast, his mother's photo albums, Henri Cartier-Bresson, Richard Avedon, Edward Steichen, Helmut Newton, The Beatles, Patti Smith and travelling the world visiting exotic bookshops, and connecting with booksellers and great photographers.  

From famous locations to the simplest home vegetable garden, from worlds imagined by artists to vintage family snapshots, The Photographer in the Garden (Aperture and George Eastman Museum, 2018) traces the garden’s rich history in photography and delights readers with spectacular images. At this talk, Jamie M. Allen, Stephen B. and Janice G. Ashley Associate Curator in the Department of Photography and author of the book's essay, will explore the relationships between photography, botanical images, and the cultivated landscape. Her talk will span the history of photography, starting with the medium’s invention in the nineteenth century. She will point out important photographic processes along the way—from daguerreotype to digital photography—while discussing the work of diverse photographers, including Anna Atkins, Edward Steichen, Imogen Cunningham, Stephen Shore, Abelardo Morell, Andrew Buurman, Tanya Marcuse, Sharon Core, Ori Gersht, Rachel Sussman, and Brad Temkin.

   This episode I’m joined again by my friend Ward Rosin as we take a deep dive into possibly one of the unsung heroes of photo history, Edward Steichen.     Links: Ward Rosin's Website, Instagram feed and Facebook page. The Fighting Lady on YouTube Family of Man scan to PDF  Lehman College/CUNY critical revisiting of Family of Man Chronology of MoMA to 1964  

’When I first became interested in photography I thought it was the whole cheese, my idea was to have it recognised as one of the fine arts. Today I don’t give a hoot in hell about it, the mission of photography is to explain man to man and each man to himself, and that is no mean function.’’ Edward Steichen Welcome to the Outerfocus Podcast!This week we are joined by street photographer, Melissa Breyer from New York. We chat to Melissa about her career journey delving into how and why she went from painting student to photographer. We also hear about Melissas writing and managing editor role at Treehugger as well as details about her upcoming book.With a packed show last week, we decided to look more a bit more at Edward Steichen. Born in Luxembourg in 1879, and later emigrating to America Steichen was known not only for being one of the first modern fashion photographers, but was also known for opening the Little Galleries of the Photo-Secession, later to be known as 291 with Alfred Stieglitz. We take a look at his early life, his work and more. Links:https://en.wikipedia.org/wiki/Edward_SteichenF1 Photographer using 4x5 View cameraGuest Links:http://www.melissabreyer.comhttps://www.instagram.com/melbreyer/https://www.treehugger.com/author/melissa-breyer/Host Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comhttps://www.instagram.com/f8kym/New York - Saul Leiter (Louis Vuitton)

Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can’t get inside and know the subject.” – Edward SteichenWelcome to the Outerfocus Podcast!And we’re back with a bang!This week we are joined by David Carol. A photographer, lecturer, writer, curator and publisher. We talk with David about how he got started in photography, right from owning his first camera at the age of 18 and his first job at The Image Bank, to more recently being retired and publishing photography books with his publishing company, Peanut Press. History of photography this week (very) briefly touches on Edward Steichen. To be fair, we’ll probably go into more detail about Steichen next week as trying to stay on one subject was a bit like trying to herd wild cats. A plethora of things were discussed this week, including: processing film, cameras, Rolex watches and David’s top five influential photographers, among many other things.We hope you enjoy listening as much as we enjoyed having this conversation. Links:https://en.wikipedia.org/wiki/Edward_SteichenICPGuest Links: https://www.davidcarol.comhttps://peanutpressbooks.comHost Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comBradley Hansonhttps://www.bradleyhanson.comhttps://www.facebook.com/bradleyhansonphotographyhttps://www.instagram.com/bradleyhansonphotography/https://twitter.com/bradleyhansonIan Weldonhttp://ianweldon.comhttps://www.instagram.com/not_wedding_photography/https://www.facebook.com/Ian-Weldon-Photography-124854627581367/Books:

Si en el episodio anterior, el episodio 69, te comentaba las razones más importantes que pueden hacer que no consigas avanzar adecuadamente en tu aprendizaje, en este episodio quiero que conozcas los riesgos que no solucionar alguno de esos problemas si es que crees que puedes sufrir alguno de ellos 

Shamoon Zamir (New York University Abu Dhabi) discusses the 'The Family of Man' exhibition and its related archives. Apart from early reviewers and commentators, everyone who has written on the famous The Family of Man Exhibition has done so without the benefit of having seen it at the Museum of Modern Art in 1955 in its original iteration. The reliance on the book of the exhibition has consequently substituted for the exhibition and greatly distorted our understanding of Edward Steichen’s curatorial design. Shown, according to one count, in more than 40 countries and seen by over 9 million people, The Family of Man was a defining event in the global history of photography. This paper attempts to explore the ways in which the Museum of Modern Art’s archives and the archives of the United States Information Agency help us revise this history and develop new perspectives on Steichen’s exhibition.

Change has arrived and it's time that the art world increases its influence, inspiration, and power. We’re entering a very interesting time in the arts, when increasing numbers of artists will use their talents to push back against a growing climate of racism, inequality, and social conservatism. As Ted Wells says: "Jump off the BLANDwagon."  Dark times can make life beautiful. With the arts, our lives can be transitional during a time full of powerful artistic commentary and vivid artistic and social expression.  Some artists protest the present while shaping and reinventing the future; others artists help us escape our current reality or remind us that beauty and novelty still exist in the world, regardless of how bad we’re currently feeling about it. During the 1960s, artists created work that protested injustice and inspired the counterculture to battle the conservative backlash. And others made art that was so beautiful that it soothed shattered nerves and lifted average people out of the shadows. That was what the world needed then, and it’s what the world needs now. And I feel that’s exactly what is coming in the next few years. The creation of art, by any of us, can be a way of expressing our feelings within a realm of freedom that we might not be experiencing in our job, or among our community, or within our family. In some ways, it can a be way of emerging some part of our soul that would otherwise be trapped because of the way artistic expression can be squelched by society. Be raw, rougher … more honest and expressive … and way more real. Andy Warhol, Green Day, Revolution Radio, Billie Joe Armstrong, Bob Dylan, Rolling Stone Magazine, Dion, Jefferson Airplane, Sly and and Family Stone, Creedence Clearwater Revival, Emory Douglas, Black Panthers, Broadway, Barry Goldwater, Donald Trump, Martin Later King Jr., Robert Kennedy, JFK, John F. Kennedy, Richard Nixon, George Wallace, Vietnam War, Abraham Lincoln, Walt Whitman, Man Ray, Edward Steichen, Lee Miller, Stuart Davis, Jospeh Cornell, Lucien Carr, William S. Burroughs, Allen Ginsberg, John Giorno, Laurie Andersen, Andrea Fraser, Gus Van Sant, Ted Wells  

Curator of Edward Steichen: In High Fashion, William A. Ewing, reveals how Steichen an American photographer of humble origins, created a vision of elegance and sophistication in Vogue and Vanity Fair magazines.

Curator of Edward Steichen: In High Fashion, William A. Ewing, reveals how Steichen an American photographer of humble origins, created a vision of elegance and sophistication in Vogue and Vanity Fair magazines.

As a young man Jon Goodman set out from the United States for Europe to learn photogravure printing. At the time of his journey in the mid-1970s the practice of making flat plate gravures had all but disappeared. After years of travel and trials in Europe and the United States, Goodman began printing work by some of the greats: Alfred Stieglitz, Edward Steichen, Dorothea Lange and Paul Strand. I sat down with Goodman in his Northampton, Massachusetts studio to talk about his travels in Europe, working on photogravure with Richard Benson and working with Michael Hoffman at Aperture.

Meet The Press Carl Sanburg Edward Steichen Photographer 9-13-59 http://oldtimeradiodvd.com 1084

Monsieur Antoine et Monsieur Nicolas de la revue en ligne Diktats, racontent les grandes étapes de la gravure de mode en France, depuis le XVIIe siècle jusqu’à l’arrivée de la photographie au tournant du XXe siècle, en passant par l’ « âge d’or » du XVIIIe siècle (le règne de Louis XVI). La gravure de mode a été un outil de diffusion des modes parisiennes en province et à l’étranger pendant plusieurs siècles et fait l’objet aujourd’hui d’un marché attirant les collectionneurs du monde entier. Antoine et Nicolas racontent les planches de mode vendues à l’unité ou par suites, les almanachs, les « recueils généraux » de coiffures ou de costumes et de modes, évoquent les grands noms du genre au XVIIIe siècle (famille Bonnart, Esnauts et Rapilly…), la naissance des magazines de mode au sens moderne (Le cabinet des modes ou les modes nouvelles, 1785, puis le Journal des Dames et des Modes, 1797-1839, sans oublier La Galerie des Modes à partir de 1778…). Ils racontent la « révolution Art Déco » (1910-1930) qui tente de renouer avec le luxe des images de mode du XVIIIe siècle. Avec La Gazette du Bon Ton, de 1912 à 1925, Lucien Vogel et Michel de Brunhoff renouent avec cette longue tradition. Mais la photographie est venue porter un coup fatal à cet art à partir de 1880. Les premières photos de mode en couleur s’installent dans le paysage de la presse au tournant du XXe siècle, et des grands artistes comme Edward Steichen font cause commune avec de grands couturiers comme Paul Poiret pour renouveler l’art de l’illustration de mode. Diktats est une librairie en ligne spécialisée dans les livres anciens sur la mode et le costume. Spécialistes d'histoire de la mode et de livres anciens, Monsieur Antoine et Monsieur Nicolas propose une sélection d'ouvrages rares et précieux et collabore aussi bien avec des clients institutionnels (musées internationaux, maisons de couture) qu’avec des collectionneurs privés. En 2008 Diktats a été qualifiée de « caverne d’Ali Baba pour livres rares et précieux » par Le Monde.

Born in Paris in 1928 to Russian parents, Elliott Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research. Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France. While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh. In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier's, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits. In the late 1960s Erwitt served as Magnum's president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum.  www.elliotterwitt.com http://www.magnumphotos.com/ http://norman.hrc.utexas.edu/erwittdc/ www.thecandidframe.com info@thecandidframe.com

Vanity Fair Portraits brings together almost 150 iconic photographs from the magazine’s vintage and modern period. Both fans of photography and celebrity buffs will enjoy a glamorous history of portraiture that feature such luminaries as Tom Cruise, Madonna, Ernest Hemingway and Cary Grant along works by master photographers that include Edward Steichen and today’s Annie Leibovitz. Radio Out and Out met with Francisco Alvarez, Managing Director of the Institute for Contemporary Culture at the Royal Ontario Museum who provided insight into both the exhibit and the magazine’s role in popular culture. Vanity Fair Portraits is at the Royal Ontario Museum until January 3, 2010. Continue reading →

Warren Perry, researcher at NPG, discusses Leopold Stokowski's portrait by Edward Steichen