#*szarkowski

[astr0nema]

This is Anja's family!

From left to right: Ben Szarkowski, who is Anja's mum's second partner and now ex but Saoirse can't stand him so she made him take the family photos so he wouldn't be in any. Next is James, the sweetest, most flamboyant teen. Saoirse hates photos which is why she looks angry, and next to her is Ava Luna, who has some serious anger management issues. Then it's Anja and Silas, who are thinking of moving to San Sequoia to be closer to her family.

Ava Luna may get some prime time. Nothing will stop her from moving to San Myshuno.

...Except she recently met Enid Windsor, Glimmerbrook's infamous widow. Will she ask for the rite of ascension?

[thephotoregistry]

Mathew Brady and Lake Superior, 1959

John Szarkowski

[gacougnol]

John Szarkowski (United States, 1925-2007)

Crooked Lake, 1961

[joeinct]

John Szarkowski (Museum of Modern Art), Paris, Photo by Andre Kertesz, 1966

[conformi]

Russel Lee, Kitchen of tenant purchase client, Hidalgo, Texas, c. 1905, in John Szarkowski, The Photographer’s Eye, 1966 VS Niele Toroni, Empreintes de pinceau n° 50 à intervalles de 30 cm, 2008

[fashionbooksmilano]

Irving Penn

John Szarkowski

Museum of Modern Art, New York 1987, 216 pages, 156 plates (21 in colours), 35 ref.ill., paperback, 25,5x30,3cm, ISBN 0870 70 5636

euro 90,00

email if you want to buy booksinprogressmilano@yahoo.it

This book, published in conjunction with an exhibition at The Museum of Modern Art, is the first comprehensive retrospective of Penn's work. The essay by John Szarkowski follows a brilliant career, from its art-school beginnings to the provocative still lifes , photographs of cigarettte butts and street detritus -- works of eloquence and classical rectitude, made from the least consequential of subject matter. 'Penn's private, stubborn, artistic intuitions, writes Szarkowski, 'have revised our sense of the world's content. His essential work is Spartan in its rigor, in its devotion to the sober elegance of clarity, in the high demand that it makes of us regarding poise, grace, costume, style, and the definition of our selves

02/05/24

[mariaangels]

John Szarkowski Robinson Lake .Ontario 1961

[colonellickburger]

Joel Meyerowitz. John Szarkowski, NYC, 1968

[sustentavelimaginario]

"

... He discovered that his pictures could reveal not only the clarity but the obscurity of things, and that these mysterious and evasive images could also, in their own therms, seem ordered and meaningful.

"

-John Szarkowski

[maa-pix]

As Americans we are scarred by the dream of innocence.  In our hearts we still believe that the only truly beautiful landscape is an unpeopled one.  Unhappily, much in the record of our tenancy of this continent serves to confirm this view.  So to wash our eyes of the depressing evidence we have raced deeper and deeper into the wilderness, past the last stagecoach stop and the last motel, to see and claim a section of God’s own garden before our fellows arrive to spoil it.

Now however we are beginning to realize that there is no wilderness left.  The fact itself is without doubt sad, but the recognition of it is perhaps salutary.  As this recognition takes a firmer hold on our consciousness, it may become clear that a generous and accepting attitude toward nature requires that we learn to share the earth not only with ice, dust, mosquitoes, starlings, coyotes, and chicken hawks, but even with other people.

There is considerable evidence to support the view that man is a unique and foreign mutation, an exception, in the otherwise natural and symbiotic life of the planet.  Granted, this evidence has been collected and interpreted by men, which suggests that the conclusion might be a perverse sort of bragging.  Nevertheless, this view has provided grist for the mills of many of America’s most distinguished artists.  The most important of these in terms of recent influence is perhaps Thoreau, whose elegantly expressed dyspepsia has convinced many otherwise intransigent rationalists that man is not in fact part of nature.

—John Szarkowski, from his forward to The New West, in the collection The Place We Live, both by Robert Adams

[kitsunetsuki]

Irving Penn - Lipstick Brush, New York, 1959, from Irving Penn by John Szarkowski (1984)

[astr0nema]

James Szarkowski reads college-level physics books for fun, hbu?

[thephotoregistry]

Flag, Fourth of July, 1997

John Szarkowski

[lukish25]

William Eggleston's Guide by William Eggleston My rating: 5 of 5 stars La doverosa e necessaria premessa nel caso vi venga in mente di sfogliare questo libro e arrivare alla conclusione che "Queste foto le so fare anche io", è che queste fotografie sono state pubblicate nel 1976. L'introduzione di John Szarkowski spiega molto bene questa cosa, spiega soprattutto la rivoluzione che William Eggleston portò nel mondo della fotografia. Il testo è un'analisi critica del suo lavoro, in particolare del suo approccio alla fotografia a colori e della sua capacità di trasformare soggetti ordinari in immagini artisticamente e concettualmente rilevanti. L'autore discute come le fotografie di Eggleston siano spesso paragonate alle diapositive amatoriali Kodachrome, ma differiscono per l'intelligenza, la precisione e la coerenza con cui sono realizzate. Eggleston trae ispirazione da modelli comuni e da esperienze private, trasformandole in immagini che sembrano estratte da un diario personale. L'elemento centrale delle sue fotografie è la loro immediatezza e chiarezza, che evitano simbolismi complessi o narrative forzate. L'autore sottolinea come Eggleston riesca a creare immagini in cui forma e contenuto coincidono perfettamente, rendendo superfluo qualsiasi tentativo di descriverle con le parole. Il suo uso del colore è essenziale per conferire autenticità e naturalezza alle scene, evitando l'estetica monocromatica tipica della fotografia d'arte tradizionale. Si evidenzia anche il contrasto tra le aspettative comuni riguardo alla fotografia americana – spesso percepita come piatta e standardizzata – e la capacità di Eggleston di rivelare complessità e tensioni anche nei soggetti più banali. I suoi scatti catturano la quotidianità con un'intensità visiva che sembra evocare una memoria eidetica. Le immagini di Eggleston non sono documenti oggettivi ma piuttosto una forma di finzione visiva che rappresenta una visione personale del mondo. Queste fotografie sono surrogate visive dell’esperienza, offrendo uno sguardo privato ed elegante su una realtà apparentemente semplice ma profondamente significativa. View all my reviews

[joeinct]

Tomkins County King, Photo by John Szarkowski, 2005

[bernardodias]

John Szarkowski | Screen Door | Hudson, Wisconsin | 1950