VISUAL INDEPENDENCE
... a photo*graphic experience | Vol. 6 | Spring 2013
Moscow 1956 by Peter Bock-Schroeder by Jans Bock-Schroeder Paris 2012
Nevada 1956 by Robert Frank (made on his Guggenheim Fellowship)
Central Park, 1970 by Barton Silverman
Flight of the Pélican by E.J. Marey
Gartenscheich by IBS Geissler
Police Shooting Range, Houston Texas
Attack, 1941 by Dimitri Baltermants
President Kennedy by Georges Tames
Ground Zero, 2009 by JBS
Stairs, France 1930 by Andre Kertesz
Distant view of Sebastopol, 1855 by Roger Fenton
Central Park, 1943 by Drahomir J. Ruzicka
Vitrine by Walker Evans
Vitrine by Ivan Baschang
Man Ray at work (or play?)
Eugene Smith Verso
In the domain of art, each creation is unique, and knows little progress thereafter. Arising over time are all sorts of variations of the same themes, sometimes full-bodied, often quite bland. But the force existing at the beginning of the work is rarely maintained. Similarly, when this force is reapplied, the action produced in the artwork becomes automated and mechanized, so much so that the dulled senses fail to respond to the medium. The time is then ripe for a new invention. What we call the technique is inseparable from the art. And so we are wanting, and this is not a trivial matter, to do away with some ideas. Gutenberg, the inventor of movable type, printed by this means a handful of books, which still remain supreme as realisations of the art of book typography. The centuries which have succeeded him were not marked by any other major invention in this field of interest – until photography.
From Via Veneto to Cinecittà
by Tazio Secchiaroli
Federico Fellini, who had seen Tazio's Photos in the magazines, got the inspiration for a movie called La Dolce Vita. Tazio followed Fellini to the wonderful world of cinema, and brought his knowledge and experience to the studios of Cinecittà.
Tout Voir | To view all
by Serge Plantureux
One by one, societies adopted the still or moving images of photography and cinema, invented by scientists and artists, as their preferred method of representation. The presence of science aroused the seemingly age old debate: is photography art?
Shoot a Photo
by Clément Chéroux
Distant ancestor of today's video games, « shoot-a-photo » attractions, for that is how they were called, appeared among fairground stands around 1920. In this new game the shooter fired upon himself. Among the Shooters: Brassai, Man Ray, Fellini, Sartre.
Mugshots
by Leonard Helicher
While on a trip through the upper east coast of the United States I was stopping and looking for antique paper or photos at small shops and some auctions house. Sometimes I make great finds of photos and paper.
Photo Diary
by John G. Morris
John G. Morris worked for Life magazine and became the magazine’s London picture editor during the Allied invasion of Normandy. Morris is responsible for saving Robert Capa’s legendary eleven images of D-Day after the melted emulsion accidentally destroyed most of the precious negatives. His impact on the lexicon of contemporary visual history spans nearly seventy-five years.
Stamps of Man Ray
by Steven Manford
Though reluctant to admit it as a champion of Man Ray's photographs, often the verso can be more compelling than the recto. The hidden side is frequently rich with history, quietly revealing itself like pages of a journal.In contrast to the present day, the stamps scarcely affirm the Man Ray photograph as a valuable object, or work of art. There were no stamps that read "Please Return", nor "Handle With Care".
Disturbed Landscapes
by Peter Bock-Schroeder
Bock-Schroeder’s wide-ranging travels took him from the palace of the exiled German Kaiser Wilhelm II in Doorn, Netherlands, to remote and impoverised villages of native peoples in the jungles of Peru and the Alaskan tundra.The scenes he framed in his camera were not the pretty pictures of “willows by the river or beeches in the fog”, but rather the landscapes of a world violently “disturbed” by man.