#Szarkowski

[oliarfoaui]

This connects to the notion of John Szarkowski’s “the thing itself” in ‘The Photographer's Eye’. I was inspired by his perspective which states that: “While the draftsman starts in the middle of the sheet, the photographer starts from the frame.”

Framing was an integral part of the process, focusing my camera in the corner of the alleyway, behind a brick wall, and waiting for a passerby. This was my “vantage point". I focused on what elements would be encasing my focal point, such as the vibrant green trees and dark reflective pavement. I wanted my photograph to capture this moment of urgency, which can be seen through the water droplets glaring on the lens and slight blurriness in the focal point which contribute to the pressure of the moment.

[thephotoregistry]

Mathew Brady and Lake Superior, 1959

John Szarkowski

[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

[davidhudson]

Edward Steichen, March 27, 1879 – March 25, 1973.

At the Museum of Modern Art with John Szarkowski. 1964 photo by Paul Huf.

[mariaangels]

John Szarkowski Robinson Lake .Ontario 1961

[colonellickburger]

Joel Meyerowitz. John Szarkowski, NYC, 1968

[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?

[archivist-dragonfly]

Book 458

A Maritime Album: 100 Photographs and Their Stories

John Szarkowski and Richard Benson

Yale University Press / The Mariners’ Museum 1997

I have this thing about boats. I really like just about everything about them, and I also really enjoy being on the water. So not only is this book about boats, but it’s also a book of (mostly) anonymous photos, which I also really seem to like. Selected from the archives of The Mariners’ Museum in Newport News, Rhode Island, the photos in this book each have a story to tell. In the top photo, the bark (a type of sailing ship) Garthsnaid is being deluged by a wave over her lee rail, placing the photographer in great peril. The second photo is of letters laid out to dry, salvaged from the Empress of Ireland after she was struck by a cargo ship and sank in 1914 with a loss of 1,027 lives. The third photo is of the first flight ever taken from the deck of a ship in 1910. And the fourth photo is an ad for ship propellers manufactured by The Portland Company, date unknown.

[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

[thephotoregistry]

Flag, Fourth of July, 1997

John Szarkowski

[joeinct]

Tomkins County King, Photo by John Szarkowski, 2005

[kitsunetsuki]

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

[bernardodias]

John Szarkowski | Screen Door | Hudson, Wisconsin | 1950