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Tag: photography

The Antiquarian Bookshops of Old London

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At the lovely Spitalfields Life blog, the Gentle Author reminisces about buying and selling used books in London, and shares some wondeful black and white photographs of the city’s secondhand bookshops taken in 1971 by Richard Brown:

Frustrated by my pitiful lack of income, it was not long before I began carrying boxes of my textbooks to bookshops in the Charing Cross Rd and swapping them for a few banknotes that would give me a night at the theatre or some other treat. I recall the wrench of guilt when I first sold books off my shelves but I found I was more than compensated by the joy of the experiences that were granted to me in exchange.

Inevitably, I soon began acquiring more books that I discovered in these shops and, on occasion, making deals that gave me a little cash and a single volume from the shelves in return for a box of my own books. In this way, I obtained some early Hogarth Press titles and a first edition of To The Lighthouse with a sticker in the back revealing that it had been bought new at Shakespeare & Co in Paris. How I would like to have been there in 1927 to make that purchase myself.

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Robert Frank: The Man Who Saw America

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Katy Grannan for The New York Times

This weekend’s New York Times Magazine has a remarkable profile of photographer and filmmaker Robert Frank by writer Nicholas Dawidoff:

Frank absorbed artistic influences all over New York. Edward Hopper’s moody office-scapes, restaurant interiors and gas pumps were not in fashion when Frank discovered the painter: ‘‘So clear and so decisive. The human form in it. You look twice — what’s this guy waiting for? What’s he looking at? The simplicity of two facing each other. A man in a chair.’’ Frank’s creative day to day was informed by the Abstract Expressionist painters he lived among. Through his window, Frank studied Willem de Kooning pacing his studio in his underwear, pausing at his easel and then walking the floor some more. ‘‘I was a very silent unobserved watcher of this man at work. It meant a lot to me. It encouraged me to pace up and down and struggle.’’ He also saw the downside of an artist’s life: ‘‘I used to watch de Kooning work, and then I’d walk down the street and see him drinking and lying in the gutter. Somebody’s bringing him upstairs. You drink because you have doubts. Things seem to crumble around you.’’

Online, the Times also revisits The Americans, Frank’s best known work and “one of the most influential photography books of all time.”

“Parade — Hoboken, New Jersey,” 1955. Robert Frank
“Parade — Hoboken, New Jersey,” 1955. Robert Frank
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Olivia Laing on the Future of Loneliness

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Olivia Laing whose new book The Lonely City is out in 2016, has a personal essay on loneliness and technology in The Guardian that, like her books To the River and The Trip to Echo Spring, weaves a lot of surprisingly disparate threads together into fascinating meditation on art, literature and place:

At the end of last winter, a gigantic billboard advertising Android, Google’s operating system, appeared over Times Square in New York. In a lower-case sans serif font – corporate code for friendly – it declared: “be together. not the same.” This erratically punctuated mantra sums up the web’s most magical proposition – its existence as a space in which no one need ever suffer the pang of loneliness, in which friendship, sex and love are never more than a click away, and difference is a source of glamour, not of shame.

As with the city itself, the promise of the internet is contact. It seems to offer an antidote to loneliness, trumping even the most utopian urban environment by enabling strangers to develop relationships along shared lines of interest, no matter how shy or isolated they might be in their own physical lives.

But proximity, as city dwellers know, does not necessarily mean intimacy. Access to other people is not by itself enough to dispel the gloom of internal isolation. Loneliness can be most acute in a crowd.

Coincidentally, Laing’s piece is illustrated with photographs from Gail Albert Halaban‘s series Out My Window — one of which was used on the cover of My Salinger Year by Joanna Rackoff, designed by Peter Mendelsund and Oliver Munday.

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Tate Shots: William Eggleston

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“William Eggleston never takes multiple shots of the same image, just the right picture at just the right moment.”

Curator Simon Baker discusses the work of photographer William Eggleston, currently on display at the Tate Modern in London:

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Truth. Beauty. Bailey.

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“Are you filming, or am I wasting my fucking time?”

A short film by Jamie Roberts about British fashion photographer David Bailey, who I will forever associate with David Hemmings propeller-purchasing photographer in Michelangelo Antonioni’s 1966 film Blow-Up:

The film was commissioned by Dazed & Confused.

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Rachel Kushner on Images

Author Rachel Kushner discusses her novel The Flamethrowers (now out in paperback), and the importance of images to her work, with The Quietus:

I’m inspired by visual art and film… Whether or not I’m writing about those mediums directly, as I sometimes do in Flamethrowers, I’m always thinking about images… I always wanted to have images in a book, and with [The Flamethrowers], after I got to have my choice of the image on the North American cover, I got a little bold, and asked about putting images inside. My editor said yes, so I quickly put together a short list of ideal visual passages. I didn’t want anything that would illustrate the narrative. I wanted, instead, images as kind of pauses, or counterpoints, but that would complicate, function in a relation, but not an obvious one. There’s a Richard Prince image, and he’s a shadow presence over the course of the book (one of the characters is also the name of Prince’s alter-ego, John Dogg). There’s a photograph by Aldo Bonasia, of a riot and police tear-gassing the rioters, in Italy. There’s a still from the movie Wanda, which figures in the book…

Funnily enough, I have feeling that Scribner have actually stuck closer to the hardcover for the front of the US paperback edition and slapped needless award stickers all over it, but I prefer the restraint of the version above left. The cover on the right is the UK paperback — a vast improvement on that mystifying hardcover).

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Saul Leiter: No Project, Only Pictures


I missed this when it was posted last month: Brian Dillon on New York photographer Saul Leiter, who died on November 26th, for the London Review of Books blog:

Leiter used cheap film that gave his images a muted quality, and the slowness of the stock made it harder to capture the momentary dramas of the street that Klein or Cartier-Bresson could freeze in fast black and white. Technical constraints cannot, however, quite explain what Leiter did with colour and composition. Time and again in the 1950s he depicts New York under snow, with just a red umbrella or a pair of temporary stop lights to punctuate the dirty white. He used the whitewashed windows of defunct stores to silhouette the odd scurrying figure, little more than a smudge of overcoat, shopping bags or another umbrella – always umbrellas. He was a connoisseur of the effects of condensation.
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Projection: 85 Years of the Projection Booth in Movies

The Booth: The Last Days of Film Projection Joseph Holmes

Created by photographer Joseph O. Holmes, this charming (if occasionally grisly!) 12-minute super-cut features clips of projection booths from 46 different films, from Buster Keaton’s Sherlock, Jr. to Quentin Tarantino’s Inglorious Basterds:

The film debuted at New York’s The Museum of the Moving Image in October as part of the opening reception for Holmes’s The Booth: The Final Days of Film Projection, an exhibition of photographs which runs until January 2014.

(via Khoi)

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Teju Cole on Photographer Saul Leiter


Teju Cole, author of Open City and a photographer himself, on the late Saul Leiter at The New Yorker:

The content of Saul Leiter’s photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don’t so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water. One of the difficulties of photography is that it is much better at being explicit than at being reticent. Precisely how the hypnotic and dreamlike feeling is achieved in Leiter’s work is a mystery, even to their creator.

Leiter died aged 89 on Tuesday this week. Read The New York Times obituary.

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Everybody Street

Everybody Street is a new documentary about the lives and work of New York’s street photographers and the city that inspires them. The film features photographer Bruce Davidson, Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper, and Boogie, as well as historians Max Kozloff and Luc Sante. It looks amazing:

Everybody Street can be watched on demand at Vimeo, and you can read an interview with director Cheryl Dunn here.

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TateShots: Ed Ruscha’s Photography Books

In this new TateShots video, artist Ed Ruscha talks about the “cultural curiosities” — the gas stations, swimming pools and parking lots of Los Angeles — that he photographed for his books:

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Trains, Punks, and Photographs


In 2002, 17-year-old Mike Brodie started hopping trains. Over the next five years he took photographs — first using a found Polaroid camera and then an old 35-mm Nikon — documenting his experiences. In the July/August edition of Book Forum, Geoff Dyer reviews A Period of Juvenile Prosperity, a book collecting Brodie’s photographs:

As with Nan Goldin’s Ballad of Sexual Dependency—and if ever a book of photographs deserved to be termed a ballad it’s this one—Brodie’s pictures are entirely from within the world depicted. Goldin always had a knack, according to Luc Sante, for finding beautiful colors and light in what was otherwise a complete dump. The light for Brodie and his fellow travelers is a given, filling their lives with lyric and radiant purpose. The land that blossomed once for Dutch sailors’ eyes whizzes and blurs past as they ride the rails; the light fades, and the dark fields of the Republic roll on under the night. But the book is less a record of sights and places seen than one of the people doing the seeing. Photographs by Helen Levitt don’t just show children playing in the street; they convey what it’s like to be a child. Same here. We share the optimism, recklessness, and manifest romance of these outlaws’ take on destiny.

Earlier this year, Brodie, who is now working as mechanic, talked about the book with All Things Considered on NPR:

NPR: All Things Considered: Trains, Punks, Pictures mp3

I’ve not seen any sign of the book in Canada, but apparently it is available from the publisher Twin Palms, and I’m sure there will be US independent bookstores who have it.

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