#Szarkowski

[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

[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?

[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)

[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

[exhibit-of-the-century]

Masterlist: Lesson Recommended Readings

Masterlist

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✨Lucy E. Thompson, 'Vermeer's Curtain: Privacy, Slut-Shaming and Surveillance in "A Girl Reading a Letter", Survelliance & Society 2017 ✨Gregor Weber, 'Paths to Inner Values,' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames & Hudson, 2023) ✨Bernard Berenson on Masaccio, panel in National Gallery, 1907 ✨Giorgio Vadari, Lives of the Most Eminent Painters, Sculptors and Architects (online translation published, 1912) ✨Marjorie Munsterberg, Writing about Art ✨Paul Binski, Westminster Abbey and the Plantagenets: Kingship and the Representation of Power, 1200-1400, 1955 ✨Toby Green, A Fistful of Shells: West Africa from the River of the Slave Trade to the Age of Revolution, 'Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra', 2019

✨Pieter Roelofs, 'Girls with Pearls', extract from 'Vermeer's Tronies' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames and Hudson, 2023)

✨Frantz Fanon, Black Skin, White Masks (1986)

✨Frantz Fanon, The Wretched of the Earth (1963)

✨Decolonial/Postcolonial Voices

✨Honour, Hugh and Fleming, John.  A World History of Art. London: Laurence King Publishing. 7th ed, 2005

✨The Painter of Modern Life, Charles Baudlaire, 1863 Part 2, Part 3 Other Quality

✨The Photographers Eye, John Szarkowski, 1966

✨Elkins, James. Stories of Art. London: Routledge, 2002

✨Paragraphs on Conceptual Art, Sol Lewitt, 1967

✨Nikolaus Pevsner, The Buildings of England. London, volume 1, The Cities of London and Westminster, 1973

✨Annie E. Coombes, Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England, 'Material Vulture at the Crossroads of Knowledge: The Case of the Benin "Bronzes", 1994

✨Hatt, Michael and Klonk, Charlotte, Art History: A Critical Introduction to its Methods, 2006

✨Meyer Schapiro, H. W. Janson and E. H. Gombrich, ‘Criteria of Periodization in the History of European Art’, New Literary History, 1970 ✨Thomas DaCosta Kaufmann, ‘Periodization and its Discontents’, Journal of Art Historiography, 2010

✨Kathryn Wysocki Gunsch, The Benin Plaques: A 16th Century Imperial Monument, 2018

✨D'Alleva, Anne. How to Write Art History. London: Lawrence King Publishing, 2010/2013/2015

✨Christopher Wilson, The Gothic Cathedral: the Architecture of the Great Church, 1130 - 1530, 1990

✨Anne D'Alleva, Methods and Theories of Art History, 2005/2012

✨Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987 ✨Paul Binski, Ann Massing, and Marie Louise Sauerberg (eds.), The Westminster Retable: History, Technique, Conservation, 2009

✨Christa Gardner von Teuffel, ‘Masaccio and the Pisa Altarpiece: A New Approach’, Jahrbuch der Berliner Museen, 1977 Part 2

✨John Shearman, ‘Masaccio’s Pisa Altar-Piece: An Alternative Reconstruction’, The Burlington Magazine, 1966

✨Kathryn Wysocki Gunsch, ‘Art and/or Ethnographica?: The Reception of Benin Works from1897–1935’, African Arts, 2013

✨Eliot Wooldridge Rowlands, Masaccio: Saint Andrew and the Pisa altarpiece, 2003

✨Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century, 1983

✨Clementine Deliss, Metabolic Museum 2020 ✨Laura Sangha, ‘On Periodisation: Or what’s the best way to chop history into bits’, The Many Headed Monster, 2016 ✨A Gangatharan, ‘The Problem of Periodization in History’, Proceedings of the Indian History Congress, 2008

✨McHam, Sarah Blake, "Donatello's Bronze David and Judith as Metaphors of Medici Rule in Florence," Art Bulletin, 2001

✨Eve Borsook, ‘A Note on Masaccio in Pisa’, The Burlington Magazine, 1961

✨Gombrich, E.H. The Story of Art, London: Phaidon Press Ltd, numerous editions

✨Paul Binski, 'The Cosmati at Westminster and the English Court Style', The Art Bulletin 72, 1990

✨Lindy Grant and Richard Mortimer (eds.), Westminster Abbey: The Cosmati Pavements, 2002

✨Peter Draper, The Formation of English Gothic: Architecture and Identity, 2006

✨Paul Crossley, ‘English Gothic Architecture’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨James H. Beck, Masaccio: The Documents, 1978 ✨R. A. Donkin, Beyond Price: Pearls and Pearl-Fishing: Origins to the Age of Discoveries, 1998

✨Nanette Salomon, ‘From Sexuality to Civility: Vermeer’s Women’, National Gallery of Art, Studies in the History of Art, 1998

✨Irene Cieraad, ‘Rocking the Cradle of Dutch Domesticity: A Radical Reinterpretation of Seventeenth-Century “Homescapes” 1’, Home Cultures, 2019

✨Walter D. Mignolo, ‘Delinking: The rhetoric of modernity, the logic of colonility and the grammar of de-coloniality’ in culture studies (2000)

✨H. Perry Chapman, ‘Women in Vermeer’s home: Mimesis and ideation’, Nederlands Kunsthistorisch Jaarboek,2000

✨Christopher Wilson, ‘The English Response to French Gothic Architecture, c. 1200-1350’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

✨Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

✨Andre Felibien (1619-1695) Preface to Seven Conferences

✨Charles Le Burn (1619-1690) 'First Confrence'

✨Various Authors (Reviews) on Manet's Olympia

✨Zionism and its Religious Critics in fin-de-siecle Vienna, Robert S. Wistrich, 1996

✨Sex, Lies and Decoation: Adolf Loos and Gustav Klimt, Beatriz Colomina, 2010

✨Women Writers and Artists in Fin-de-Siecle Vienna, Helga H. Harriman, 1993

✨Fashion and Feminism in "Fin de Siecle" Vienna, Mary L. Wagner, 1989-1990

✨5 Eros and Thanatos in Fin-de-Siecle Vienna, Sigmund Freud, Otto Weininger, Arthur Schitzler, 2016

✨Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele, Reinhold Heller, 1977

✨Maternity and Sexulaity in the 1890s, Wendy Slatkin, 1980

✨Andre Breton (1896 - 1957) and Leon Trotsky (1879 - 1940) 'Towards a Free Revolutionary Art'

✨Sergei Tretyakov (1892 - 1939) 'We Are Searching' and 'We Raise the Alarm'

✨George Grosz (1893 - 1959) and Weiland Herzfeld (1896 - 1988) 'Art is in Danger'

✨Paul Gaugin (1848 - 1903) from three letters written before leaving for Polynesia

✨Siegfried Kracauer (1889 - 1966) from 'The Mass Ornament'

✨Victor Fournel (1829 - 1894) 'The Art of Flanerie'

✨Various Author's (Reviews) on Mante's Olympia

✨Rosalind Krauss (b. 1940) 'A View of Modernism'

✨Clement Greenberg (1909 - 1994) 'Modernist Painting'

✨Clive Bell (1881 - 1964) 'The Aesthetic Hypothesis'

✨Catherine Grant and Dorothy Price, 'Decolonizing Art History', Art History 43:1 (2020), pp.8-66.

✨Terry Smith (b. 1944) from 'What Is Contemporary Art?'

✨Geeta Kapur (b. 1943) 'Contemporary Cultural Practice: Some Polemical Categories'

✨Chin-Tao Wu 'Biennials Without Borders?'

✨Edouard Glissant (1928 - 2011) 'Creolisation and the Americas'

✨Rasheed Araeen (b. 1935) 'Why Third Text?'

✨Lisa G. Corrin, Mining the Museum: An Installation Confronting History, 1992

✨Fred Wilson, Mining the Museum, 1992

✨Tonny Bennett, The Birth of the Museum, 1995

✨Marina Tyquiengco, Book Review: Metabolic Museum, 2021

✨Hanna Daisy Foster, What is a Metabolic Museum? 2022 - 23

✨Anna Tihanyi, The Museum as a Body, Review: Metabolic Museum, 2022

✨A > Art in A to Z, Jens Hoffman, 2014