CONTENTS

Compiled and edited by

Yang Yuxin Chen Rui Tian Junyao

Herb Lubalin: He Shaped Modern Design

AIGI Medalista: Lubalin 3 Peace on Earth Good Will Toward All Men 9 The Most Avant-garde Designer of All 14 U&lc: the Most Prestigious Magazine in Typesetting 18

Gianni Berengo Gardin: Man in Black and White

Images of Human Toil and Struggle 23 Berengo’s Take on Photography 27 “A Leica isn’t just any camera, it is THE camera” 39 “On a Vaporetto, Venice” 41

Tina Modotti: Beauty, Politics, Passions and Revolution

The Incredible Story of Tina Modotti 46 Spain, Russia and an Unclear End 50 Her Legend Returns Home 53 Tina Modotti and the Importance of Honest Photograph 57 w

Herb Lubalin He Shaped Modern Design

by Yang Yuxin

Herb Lubalin (1918-1981) was an American graphic designer, type designer, typographer and teacher. Studyded design at Cooper Union in New York and graduated in 1939. In the same year, he worked for the World Exhibition in New York. After that the magazines "Eros", "Avant Garde", "Fact", and "U & lc" designed in the 1960s brought a huge impact to graphic design in Europe and America. In 1964 he set up his own studio, Herb Lubalin Inc. Then founded the International Font Company (ITC) with Aaron Burns in New York in 1970. 1972-1981, taught at Cornell University and the Cooper Union in New York. In 1981, awarded the highest honor by the Professional Design Association of the United States. He recevied more than 500 awards in his life, along with Sol Bath and Paul Lang, is known as the greatest trio of American graphic design.

AIGA, Herb Lubalin,1980 https://en.wikipedia.org/wiki/Herb_Lubalin

1 2 AIGI Medalista: Lubalin

Herb Lubalin was two years written about, imitated and been old when AIGA awarded its first recognized, awarded, written medal to the individual who, about, imitated and emulated for in the judgment of its board of it. There's hardly anyone better directors and its membership, known and more highly regarded had distinguished himself in, in the business. Lubalin's receipt and contributed significantly of AIGA's highest honor was to, the field of graphic arts. That never a matter of “if”, only “when”. individual was Norman T. Munder. Coming to terms with Herb There has been a lot of history Lubalin's work takes you quickly between that moment and the to the heart of a very big subject: evening in January 1981, when the theory of meaning and how members, directors, friends and meaning is communicated— admirers gathered in the Great how an idea is moved, full and Hall of the New York Chamber of resonant, from one mind to Commerce building to be with another. Not many have been Lubalin as he accepted the 62nd able to do, typography is a key. AIGA medal. A lot of that history, It is where you start with Lubalin at least in the graphic arts, had and what you eventually come been written—and designed— back to. But, “typography” is not a by Herb Lubalin. And Lubalin word Lubalin thought should be Alphabet, Lubalin graph, 1975 has been recognized, awarded, applied to his work. “What I do is emulated for it. not really typography,

3 4 which I think of as an essentially mid-60s, lush and luscious Avant mechanical means of putting Garde late in the same decade, characters down on a page. It's and founded U & lc in 1973 and designing with letters. saw it flourish into the 80s. Aaron called it 'typographics', But it is Lubalin and his and since you've got to put a typographics - words, letters, name on things to make them pieces of letters, additions memorable, 'typographics' is a to letters, connections and good as a name for what I do combinations, and virtuoso as any” Lubalin was a brilliant, manipulation of letters - to iconoclastic advertising art which all must return. The director - in the 1940s with Reiss “typographic impresario of our Advertising and then for twenty time,” Dorfsman called him, a years with Sudler and Hennessey. man who “profoundly influenced Recipient of medal after medal, and changed our vision and award after award, and in 1962 perception of letter forms, words named Art Director of the Year and language.” by the National has also been Lubalin at his best delivers the a publication designer of great shock of meaning through his originality and distinction. He typography - based design Avant designed startling Eros in the Garde literally moves ahead. The Magazine Cover, Avant Garde, Herb Lubalin, 1969 early 60s, intellectually and Sarah Vaughn ahead. The Sarah visually astringent Fact in the Vaughn Sings poster does just

5 6 The Next War, Herb Lubalin, 1972

that. Ice Capades skates. There is career get pulled together. It is to our times goes well beyond beyond the boundaries of “good a child in Mother & Child, and a publication dedicated to the design in much the same way taste” though in retrospect that family in Families. If words are a joyful, riotous exploration of the that his typographic innovations work is more notable today for way of making meaning, then the complex relationships between go beyond the twenty-six letters, its graphic excellence than for shapes of their letters give voice, words, letters, type and meaning ten numerals and the handful of its purported prurience. Lubalin color, character and individuality - an ebullient advertisement for punctuation marks that comprise helped push back the boundaries to that meaning. The shock of himself as art director, editor, our visual, literal vocabulary. of the impact and perception meaning, in Lubalin's artful hands, publisher and purveyor of the Lubalin's imagination, sight and of design - from an ill-defined, delivers delight, as well, delight shock and delight of meaning insight have erased boundaries narrowly recognized craft to that flows from sight and insight. through typography and design. and pushed back frontiers.As an a powerful communication “Lubalin,” praises Dorfsman, “used “Right now,” he said, “I have agency art director, he pushed medium that could put big, his extraordinary talent and taste what every designer wants and beyond the established norm important ideas smack in the to transform words and meaning few have the good fortune to of copy-driven advertising and public eye.And finally, he pushed from a medium to an inextricable achieve. I'm my own client. added a new dimension.As a back what were believed to be part of the message? and in so Nobody tells me what to do.” And publication designer, he pushed the boundaries of design for doing, raised typography from 170,000 subscribers which, with a beyond the boundaries that entire generations of designers the level of craft to art.” And it conservative pass-along estimate, constrained existing magazines who were to follow. is in his paper U & lc that a lot yields 400,000 readers, benefit. - both in form and content. In of threads in Lubalin's life and Herb Lubalin's unique contribution fact, some said he had pushed https://www.aiga.org/medalist-herblubalin/

7 8 Herb Lubalin: Peace on Earth Good Will Towards All Men

From the 1980 AIGA Medal Profile: Advertising and then for twenty "Coming to terms with Herb years with Sudler and Hennessey. Lubalin's work takes you quickly Recipient of medal after medal, to the heart of a very big subject: award after award, and in 1962 the theory of meaning and how named Art Director of the Year meaning is communicated -- by the National Society of Art how an idea is moved, full and Directors, he has also been a resonant, from one mind to pu-blication designer of great another. Not many have been originality and distinction. He able to do that better than designed startling Eros in the Lubalin. early 60s, intellectually and "Typography is the key. It is where visually astringent Fact in the you start with Lubalin and what mid-60s, lush and luscious Avant you eventually come back to. Garde late in the same decade, However, "typography" is not a and founded U & lc in 1973 and word Lubalin thought should saw it flourish into the 80s. be applied to his work. "What But it is Lubalin and his I do is not really typography, typographics -- words, letters, which I think of as an essentially pieces of letters, additions mechanical means of putting to letters, connections and characters down on a page. combinations, and virtuoso It's designing with letters. Aaron manipulation of letters -- to Burns called it, 'typographics,' which all must return. The and since you've got to put a "typographic impresario of our name on things to make them time," Dorfsman called him, a memorable, 'typographics' is as man who "profoundly influenced good a name for what I do as and changed our vision and any." perception of letter forms, words "Lubalin was a brilliant, and language."

Advertisement, Herb Lubalin, 1959 iconoclastic advertising art "Lubalin at his best delivers the director -- in the 1940s with Reiss shock of meaning through his

9 10 Some Of Our Best Friends, Herb Lubalin, 1968

typography-based design. Avant paper U & lc that a lot of threads goes well beyond design in work is more notable today for Garde literally moves ahead. The in Lubalin's life and career get much the same way that his its graphic excellence than for Sarah Vaughn Sings poster does pulled together. It is publication typographic innovations go its purported prurience. Lubalin just that. Ice Capades skates. dedicated to the joyful, riotous beyond the twenty-six letters, helped push back the boundaries There is a child in Mother & Child, exploration of the complex ten numerals and the handful of of the impact and perception and a family in Families. If words relationships between words, punctuation marks that comprise of design -- from an ill-defined, are a way of making meaning, letters, type and meaning -- an our visual, literal vocabulary. narrowly recognized craft to then the shapes of their letters ebullient advertisement for himself Lubalin's imagination, sight and a powerful communication give voice, color, character and as art director, editor, publisher insight have erased boundaries medium that could put big, individuality to that meaning. "The and purveyor of the shock and and pushed back frontiers."As an important ideas smack in the shock of meaning, in Lubalin's delight of meaning through agency art director, he pushed public eye. artful hands, delivers delight, as typography and design. "Right beyond the established norm "And finally, he pushed back well, delight that flows from sight now," he said, "I have what every of copy-driven advertising and what were believed to be the and insight. "Lubalin," praises designer wants and few have the added a new dimension. As a boundaries of design for entire Dorfsman, "used his extraordinary good fortune to achieve. I'm my publication designer, he pushed generations of designers who talent and taste to transform own client. Nobody tells me what beyond the boundaries that were to follow. words and meaning from a to do." And 170,000 subscribers constrained existing magazines medium to an inextricable part which, with a conservative pass- -- both in form and content. In http://modernism101.com/products-page/ graphic-design/lubalin-herb-peace-on- of the message? and in so doing, along estimate, yields 400,000 fact, some said he had pushed earth-good-will-toward-all-men-new-york- raised typography from the level readers, benefit. "Herb Lubalin's beyond the boundaries of "good herb-lubalin-c-1955/#.Xt4_LHduJPY of craft to art." And it is in his unique contribution to our times taste," though in retrospect that

11 12 Herb Lubalin: the Most Avant Garde Designer of All

Born on this day in 1918, Herb acknowledge his status -“Right Lubalin was an experimental now, I have what every designer typographer unlike any other. wants and few have the good Always having a playful fortune to achieve. I’m my own approach to what the letterform client. Nobody tells me what to stand for, Lubalin designed the do” he once said - Lubalin was a letters individually, changing the progressive liberal even when this weight and the meaning of words was regarded a bad quality for with the skills that define a master. business. “It is Lubalin and his typographics, His close collaboration with words, letters, pieces of letters, Ralph Ginzburg put him at additions to letters, connections the forefront of the 1960s free and combinations, and virtuoso speech movement. In 1962 they manipulation of letters, to which published the controversial erotic all must return” comments AIGA of magazine Eros, a publication that the designer that never settled for got shut down by it’s fourth issue anything. He experimented with for “violating federal obscenity his work throughout his life and he laws in the USA”. Fact Magazine was on a continuous evolvement followed, yet legal troubles put a premature end to it as well. But it Eros, Herb Lubalin, 1962 in context with the harsh political times he lived. An idealistic was six months later when their designer, yet brave enough to most iconic publication

13 14 Fact, Herb Lubalin, 1964

Eros, Herb Lubalin, 1962

hit the shelves. heart of American taboos – the Fact Avant Garde “As most of the world’s ills are same, final issue of Eros featured After Eros, Fact magazine was a The most notable of the three, traceable to old imperatives, an overview of ‘Love in the Bible’. similar venture by the two that was Avant Garde was reminiscent old superstitions, and old fools, The four issues published in 1962 equally controversial, although of Eros in its hardbound format this magazine is exuberantly were art directed by Herb Lubalin, it shifted the subject matter from and controversial content. The dedicated to the future" who often worked with Ginsburg. sex to culture and politics. magazine combined aspects Probably the most ‘offensive’ Lubalin had a liberal political of both Fact and Eros and thing about Eros was not its soft- streak, like many of the ‘Big Idea’ The magazine was sued by published articles and imagery core sex – though it was risqué at art directors in New York, but presidential candidate Barry that were often sexual, critical of the time – but ‘Black and White politics (especially revolutionary Goldwater for their publication the American government and in Colour’, photographer Ralph politics) was not his aim. He was a of an article that said Goldwater radically different than traditional M. Hattersley Jr’s landmark ‘tone designer with a mission, and Eros was psychologically unfit to be publications. While there was poem’ about interracial sex. In was a great outlet for testing his president of the United States. The no direct legal actions brought the early 1960s, black was not yet design principles. punitive damages of the case against Avant Garde it was forced beautiful, and interracial sex was caused the magazine to cease to shut down when Ginzburg went unlawful in many states. Ginsburg, publication. to prison for the Eros scandal. formerly an editor at Esquire, really knew how to get at the http://www.designishistory.com/1960/fact- eros--avant-garde/

15 16 U&lc: the Most Prestigious Magazine in Typesetting

Yang Yuxin May 12, 2020

U&lc magazine is a famous is also a content that must be magazine designed by Herb mentioned. "U&lc"magazine uses Lubalin, It's a font magazine. a white background and black color matching. The overall color ITC founded it in 1974, but until is uniform and concise. The code now he is the most prestigious of background is S 0300- N, color magazine in the world. code of font and pictures is S From the magazine layout, U&lc 9000-N. generally uses four columns, text arranged vertically. even After talking about its gabbia though it is a normal layout, but and colour scheme, let's talk U&lc uses interspersed pictures about the content of magazine. to make typography not unique, As mentioned before, it is a moreover, a part of the blank is font magazine, so most of the left at the top of the article, so that magazine's pictures are related the entire page layout will not be to font design, and the content too compact, and it ie easier for of the magazine is also related readers to read. to the process of font design, for example, vol 1.1“IS AVANT GARDE U&lc vol.5 no.4, Herb Lubalin, 1978 And the colour of magazine AVANT GARDE?"

17 18 Table of contents of U&lc’s first issue, 1973.

The logo of U&lc is also interesting, and easier attract reader's attention. they thickened the font and There are some small parts of U&lc vol.1.1, Herb lubalin, 1973 made the parts of letters more the connection of the letters. The rounded and full. The straight lines sense of sequeeze caused by this are stil straight, and the arcs are connection makes the sign more compared with the straight lines, lively. At the same time the sign has and the spacing between the a font-to-rear realationship and is letters is narrowed, making the more spatial. logo more overall, more design,

19 20 Gianni Berengo Gardin Man in Black and White by Chen Rui

Gianni Berengo Gardin was born in Santa Margherita (Liguria) on October 10, 1930, and spent his childhood in Rome. His family moved the Venice after World War II. Berengo Gardin, who became a young, amateur photographer early on, decided to go professional, working as a photo reporter for Il Mondo, up until 1965. In 1964 he moved to Milan where he opened a studio for fashion, commercial and still life photography. Many of his pictures are currently on display as part of the large ‘Grandi Maestri. 100 Anni di Fotografia Leica’ exhibition in Complesso del Vittoriano – Ala Brasini, Rome, from November 16, 2017, till February 18, 2018. With this title, the successful touring exhibition ‘Eyes Wide Open! 100 Years of Leica Photography’, has found its ninth location.

https://www.leica-oskar-barnack-award.com/en/insights/gianni- Gianni Berengo Gardin berengo-gardin.html

21 22 Images of Human Toil and Struggle

Rachel Spence April 8, 2014

If anyone has captured his he says, instilled in him a sense of to salute him. “That’s when I of a vibrant, avant-garde country’s capricious psyche, it is social justice: “She was a feminist understood how violent fascism arts scene that included Berengo Gardin. Now in his 84th before anyone knew what was.” Peggy Guggenheim, Vedova, year, he has spent more than feminism was.” When the war ended, the family Santomaso and the composer half a century documenting He first picked up a camera in moved to Venice. “At first I was Luigi Nono. “To grow up Italian mores, from Olivetti factory the mid-1940s. By then, the family a dilettante photographer, there connected you into an workers to Sicilian gypsies and had moved to Rome. When the taking shots of sunsets and old extraordinary culture,” Gardin the protests of 1968. In the 1970s, German occupiers ordered the ladies.” Revelation occurred remembers, before adding when he turned his Leica on the citizens to hand in their cameras, with a parcel of books from an sadly: “Today Venice is a violated inmates of psychiatric institutions, recalls Berengo Gardin, “I went uncle in America that included woman.” One of his most recent his testimony of cruelty led to out to take photographs just work by the great documentary assignments, from La Repubblica more humane legislation. Equally because I liked to disobey!” photographers Walker Evans and newspaper, was to photograph impressive is his achievement in Like all young Italians at the Dorothea Lange. As he gazed the giant cruise ships that are revealing something rare and time, he had little choice but to at farmers reduced to gaunt threatening the city’s social and true about Venice, that most join the Fascist youth movement. despair by the Great Depression, environmental balance. overexposed of cities. But he realized the party was Berengo Gardin found his calling. Boosted by commissions from Berengo Gardin’s empathy is part an abomination when, en route “It was the first time I realized that Olivetti and Fiat, Berengo Gardin nature, part nurture. He was born to a rally, his troupe leader photography could tell stories became fascinated by the in Liguria in 1930, to a Venetian descended from the bus to beat that mattered.” subject of work. The result is a father and a Swiss mother, who, up a road worker who refused In Venice, he became part body of images that maps the

23 24 Venice, 1960, Gianni Berengo Gardin

toil on which modern Italy was Simultaneously mundane – the built. From a young factory travelers are ordinary commuters worker adrift in an ocean of – and exotic, it captures the machines to the man with a paradox of a city trapped in an ruler- straight spine carrying huge excess of representation. loaves on a plank across his Unlike so many images tainted shoulders through a Basilicata by pity or romanticisation, village, these pictures remind Berengo Gardin’s photographs us, whatever the nature of our capture the way in which his labour, of our collective soul. “I subjects see themselves. “Even have always been close to the the poorest people have dignity,” working classes,” he concurs. he observes. Important too is his “Once they were exploited to predilection for a wide-angled the maximum. They still are to lens, which he owes to William an extent, although now at least Klein’s photographs of New York. there are unions.” “If I take your face now in close- His most renowned image of up, that could be interesting. But Venice was taken in 1960, on a if I take it with a wide-angle, I will vaporetto with mirrored doors so narrate your context.” that the passengers are trapped in a mosaic of reflections. https://www.ft.com/content/6a77b166- b8c2-11e3-835e-00144feabdc0

25 26 Berengo’s Take on Photography

A Collection of Interviews

“Wine is red and photography is black and white” “Color creates disattenzione” He declares.

Humans are always at the centre a black and white camera, created, like excessive and a beautiful photo” or “that’s a of your work. Why is that? but I’m still a firm believer disproportionate reliance on beautiful shot”. The more I said in film so I’m still using my post-production. So many people those things, the more annoyed Because humans are at the Leica M7 and M6. Digital has take photos casually or half- he got. Eventually, he said to me: centre of everything. I realized undoubtedly revolutionized heartedly because they know “If you say that one of my photos that when I was photographing the world of photography. The they can always touch them up is beautiful one more time, I’m factory workers on the production Leica Monochrom that I used on Photoshop. I believe a photo kicking you out.” Feeling a little line in the 1960s. I did it to tell delivers absolutely outstanding should be created immediately, embarrassed, I asked him: “But their story, but underneath it all performance, but I find digital to right from the moment you look sir, how else should I show my was a basic need to defend their be too perfect if that’s possible. through the lens. appreciation?” He replied: “You dignity. That’s what really interests It’s not something I’m looking should say they’re good. Beautiful me. When Carla Cerati and I took for in my photographs. I believe What do you think constitutes a photos might be aesthetically some photos inside psychiatric that film is still more flexible and, beautiful photo? perfect and well constructed, but hospitals, I learned how mental crucially, it generates a negative they don’t say anything. A good illness can humiliate people and – something tangible that can be I don’t like ‘beautiful’ photo tells you things, stories... rob them of their dignity. archived and will stand the test of photos. I think they’re totally it communicates something. time. useless. That’s something I’ve Beautiful photos communicate What cameras do you use? Do In today’s world, I may seem learned. I used to think “what a too, but what they communicate you still stick to film? like I’m anti-digital, but it’s not beautiful photo”, but one time, is useless.” So from that moment when I was still very young, I have recently tried out the something I’m against per se; on, I’ve always said “good photo” it’s more some of the bad habits Ugo Mulas was showing me his rather than “beautiful photo”. Leica Monochrom, which photos and I kept saying “what appeals to me because it’s that digital photography has

27 28 Is photography style or You once said: “Wine is red photographed by me. I once curious eye. I believe in the substance? and photography is black and shot Anna Magnani. We were by ‘decisive moment’, but I don’t white”... a window and I asked her if we think it exists in the situation that is Both, up to a point. I love could move because the light being photographed. It’s you, as telling a story – it’s something Actually, I took color photos was showing up her wrinkles. the photographer, who decides Koudelka taught me. He and for the Touring Club Italiano for 15 She replied: “One by one, these when it is the decisive moment. Salgado are great friends of years, although they were only wrinkles have got the better of And that moment depends on mine, and while he taught me landscapes and buildings; all my me and I want all of them to be each individual’s point of view. that a photo should always have photojournalism has been done seen!” I was surprised but had to Everything depends on the a story to tell, Salgado taught exclusively in black and white. admire her honesty. photographer, because after all me that content should go hand If you cut me open, I would bleed I tend not to do portraits, but I it is their reality that they choose in hand with form. If I had to black and white. When I began do like environmental portraits, to interpret and show to other choose between a stylish photo taking photos, films were in which show people in their people. and a photo of substance, I black and white, TV was in black familiar surroundings. would always go for the latter, but and white and 99% of the great You have often said that the a bit of style would also make photographers I admired worked Your photos always seem to decisive moment in a that photo easier to interpret. in black and white. capture a fleeting moment. photograph is the prerogative The two should almost always How do you do that? of the photographer. Have you go together, but substance will You don’t like photographing ever been pleasantly caught off always be the most important women, do you? A lot of expertise, a lot guard by a decisive moment that thing for me. of experience and a was not under you control? Actually, I think it’s more that permanently attentive and women don’t like being

29 30 Untitled, Gianni Berengo Gardin

Untitled, Gianni Berengo Gardin Untitled, Gianni Berengo Gardin

31 32 Yes, a few times. There are options and thinking things over Yes, I took a few shots. interest me at all, because I like two kinds of photographs. a lot more. It’s a slower, longer The Monochrom gives an to wait a few days before I let The ones you take when you process. Both genres, however, exceptional performance, worthy anyone see my work. But I do “feel” or you expect something have great value. of an optical bench. I gave it a understand that immediacy to happen. Sometimes an try – just once – for a number of is a very important aspect for unexpected event can come Have you ever wondered who or reasons: it has an exceptional breaking news photographers. up, something entirely different what makes things happen? grayscale, no flash, and allows The other advantage is the from what you had imagined, you to turn digital files into film... possibility to vary ISO depending however confusedly. This first No, never. I simply try to but digital photography still does on light. But except for those two category of photographs record things as they not interest me. things, I think everything else is a paradoxically includes the ones happen, and when they don’t disadvantage. you don’t take because you “get happen I simply don’t take Why not? there” too late, you’re not ready, photos. I have never thought of Do you see any other and you lose the moment. The what is behind events: my only First of all for the post disadvantages in digital other kind of photograph is the thought is to take good photos of production process, which I technology? category of images designed for what happens. find so irksome I cannot stand larger and more complex works, it. Digital technology offers only In my opinion it will lead to such as books or photo features. You are a stern critic of digital two advantages. The first is the the end of archives, because This type is not as instantaneous, technology. Yet you have recently ability to immediately send a only negatives can make up a and requires weighing different taken some photos with a Leica photo to anyone in the world; real archive. We do not know Monochrom, a digital camera. this is something that does not what will happen in the next ten

33 34 Sicily, 1982, Gianni Berengo Gardin

years, and what tools we will Of all the books I’ve published – there are no tourists around. Of stories to the most complex have at that point to read digital there are more than two hundred course they have every right to essays. After the war I became a files... I already have CDs from a – some were commissioned by visit such a beautiful city, but I try great fan of American authors: few years back that are useless others and some I proposed to avoid the crowds. Sometimes Fitzgerald, Faulkner, Hemingway, garbage now. And I always work myself. But I have always I feel as if I were in the middle of Steinbeck and, above all, Dos with the archive in mind: I am not photographed landscapes, an overcrowded beach during Passos, whom I especially liked interested in making art, but only regardless of the job, because the summer, where you have to because in addition to being a in documenting and witnessing they are a passion of mine. fight against the flow of people great writer he was also an anti- reality, so I want photos to outlive to reach the shore, and cannot imperialist. Among the French, I me, to survive the passage of Italian cities are also a even read a book in peace... am especially fond of Simenon. time so that, many years from frequent subject of Some of his descriptions are now, someone will have the your photographs... Speaking of books, what is almost photographic. chance to look at them and your relationship with understand history... Yes, I have several “metropolitan literature? Which photographers do you loves”, such as Venice and appreciated the most, and from You have photographed Italy Milan. I don’t generally care for I have a strange bond with which have you learned the and its landscapes many times. touristic cities: with Rome, for poetry. I don’t like to read it, I most? example, I have a complicated don’t understand any of it, but Yes, I know Italy very well relationship. I like to be there for I like to hear someone else There are so many, and some of because for fifteen years I worked three or four days, then I have to read it. On the other hand, I’m them I have met and gotten to for the Touring Club and the leave. Venice is an exception. I omnivorous with prose: I like know in person, such as Salgado, Istituto Geografico De Agostini. love it especially at night, when to read anything from mystery Koudelka, Cartier-Bresson...

35 36 They call you the the work of the great masters, “Italian Cartier-Bresson”... think about it and about why they created those images. In my And they are wrong. “Italian life I have devoured books by Willy Ronis” would be more the great American and French accurate, because I learned so photographers. You can also much more from him. Cartier- learn a lot from contemporary Bresson is on a whole different authors. For example, I owe a level, out of reach. I am very lot to Gabriele Basilico, who has proud to have (he points to a been a great inspiration of mine framed autograph of Cartier- for architectural photography. Varese, 1987, Gianni Berengo Gardin Bresson) this statement of his And you can learn a lot from “admiration” for my work... it’s artists... something to be proud of, isn’t it?

Have you ever intentionally set up Interview by Paolo Mattei, 2013 a scene for your photos? https://www.italianways.com/interview-with- g-berengo-gardin/ I have shot a million and a half Interview by Leica Internet Team, 2017 photographs, and I’ve “designed” https://www.leica-camera. – declaring it openly – only three blog/2017/11/15/leica-hall-fame-award- or four. 2017-winner-gianni-berengo-gardin/ https://www.designboom.com/design/ How can you learn to gianni-berengo-gardin-photography/ become photographer? https://www.ft.com/content/6a77b166- First of all, you have to look at b8c2-11e3-835e-00144feabdc0

37 38 “A Leica isn’t just any camera, it is THE camera”

On November 15, 2017, in Rome, M3 came out in 1954, it became Leica Camera AG honored the an irrepressible passion. I’ve Italian photographer, Gianni had every M model that came Berengo Gardin, with the Leica out since then. Up until the M7, Hall of Fame Award for his which I still use. It’s the one I use life’s work. This is second great most. For me, a Leica isn’t just recognition that connects him any camera, it is THE camera.” It to Leica, as he was already the is hardly surprising then, that all recipient of the Leica Oskar his cameras have found a place Barnack Award in 1995. Twenty- of honour in a display cabinet in two years span the two events, his home. This is where the circle and during that period the world is completed, because, within of photography has been totally the framework of the Leica Hall transformed: as a medium, of Fame Award, he can now add structurally and also aesthetically. another one to his collection: a In this regard, Berengo Gardin’s Leica M-A produced especially oeuvre appears all the more for him – fully mechanical and classic today, yet it has lost none analogue. This ensures that the of its quality. photographer can remain faithful The photographer’s work and to his working style, and makes career have been closely the twenty-two year gap no associated with Leica for over longer appear quite so large. 60 years: “My relationship with Inside the Nomad Camp, Florence, 1993, Gianni Berengo Gardin Leica began even before the M https://www.leica-oskar-barnack-award. com/en/insights/gianni-berengo-gardin. system existed. Long before that, html with a Leica IIIc. Then, when the

39 40 On a Vaporetto, Venice

Chen Rui May 12, 2020

Vaporetto, 1958, Gianni Berengo Gardin

This, considered to be Berengo camera stopped working, every Gardin’s most iconic image, part of it seemed incredibly was shot on the artist’s first roll natural. of 400 ASA film given to him by Cornell Capa. The image was Berengo Gardin is a fanatic of taken inside a vaporetto and black and white photography, ingeniously reassembles the not just because he’s lived in sharp-suited men aboard in the a time when everything was reflecting glass and mirror. in black and white, but this passion has lasted till later days. At the fist glimpse, one might ‘Vaporetto’ was shot in 1960 in not be perfectly aware of the Venice, where people live on content of such a photograph the beauty of the waterway for its compositional complexity intertwining throughout the entire and the deceptiveness of those city. The photograph managed glasses and mirrors. However to reflect this aspect in a if we look closely, this image metaphorical way - people with could be broken down to four different backgrounds crowded main sections - three in the the ship just like those people background and the other in in Venice coming and going. It front of all. Every single man in is very easy to get lost in such ‘Vaporetto’ seems to be moving dazzling scenes. though it’s just a shot - it’s like the moment has been captured in This photograph owes a an instant when a surveillance significant debt to Cartier-Bresson,

41 42 Tina Modotti Beauty, Politics, Passions and Revolution

by Tian Junyao

a debt that Berengo Gardin has readily acknowledged, and it reminds us of the very considerable impact of Cartier- Bresson’s work on emerging photographers in the fifties, not least in Italy through his 1953 exhibition at the Palazzo Strozzi in Florence and through the dissemination of his books.

The way in which ‘Vaporetto’ blends documentary observation with a complex layered and fragmented structure develops lessons by Berengo Gardin from this mentor, and specifically references the stimulus of a photograph made in a pub in Brighton published by Cartier- Bresson in The Europeans in 1955. Tina Modotti, 1925

43 44 The Incredible Story of TIna Modotti

Daniela Ambrosio February 21, 2020

Tina Modotti, an Italian photographer, Intelligent, charming, politically as a worker to help the family. actress, has left an indelible mark on the committed. The life (and art) These are difficult years, and the history of contemporary photography. Her of Tina Modotti has something hope of leaving Italy does not "cinematographic" about it. And, abandon the Modotti family: famous shots, which make up the collections not surprisingly, her career as a finally, in 1913, Tina manages to of the most important museums in the world, photographer begins right in the leave for the United States with are the symbol of an emancipated and cinema when, after acting for her father. In San Francisco she modern woman, whose photographic art is some Hollywood productions, she finds work in a textile factory, but inextricably linked to her social commitment. meets the great Edward Weston. in the young girl's life there seems During her short life, she worked at the But let's go back in time, to Udine, to be room for something else: forefront of a freer and fairer humanity, to at the end of the nineteenth she starts studying theater and century. Tina was born into a poor dreaming of a life in Hollywood. bring relief to civilian victims of conflicts. She working class family. Her parents The dream came true when, after will never be able to return to her beloved are socialists and when they marrying an aspiring painter, she native land because of her anti-fascist decide to emigrate to Austria moved to Los Angeles and was activities and an untimely death at the age in search of better economic hired as the protagonist of the film of 46, to which artists such as Picasso, Rafael conditions, the eldest daughter The Tiger Coat. It's 1920 and the Alberti and Pablo Neruda paid tribute to her. Tina is only two years old. Even "roaring years" are just beginning. there, however, things are not The possibility of becoming a https://www.mudec.it/eng/tina-modotti-women-mexico-and- going well and on returning movie star opens up before the freedom/ to Friuli, Tina begins to work young girl from Friuli:

45 46 Self-portrait with Leica,1931 Tina Modotti and Frida Kahol,1928

she is very expressive, she has photographer. She follows him photographic art matures and skill and sensitivity. In fact, her an exotic, bewitching charm. to Mexico City, where she meets asserts herself: in the portraits of fotographs alwayspervaded However, Tina soon feels and gets touch with the most Mexican women, in the images by political commitment and uncomfortable in the role of important characters of Mexican of the Revolution, in the looks aesthetic tension, by the pictorial the femme fatale and, after communism. She photographs of the protagonists of Mexican dimension of the images - two more films, she decides them, and falls in love with many Muralism. If it is true that her learned over the years with to end her acting career. The of them and becomes their lover. passion for photography began Weston desire - and by the reason is also another: she Tina is a passionate woman, when she was in Italy and, still desireto express the crudest had known the photographer without taboos: on her way she a child, her uncle who ran a reality and militancy. In Modotti's Edward Weston. She will be his also meets the painter Frida photographic studio had given poetics, these two apparently model first, then his lover, and Kahlo, and has a relationship her the cy. In Modotti's first antithetical aspects dissolve and thanks to him she will discover with her. Loves, militancy and rudiments, it is in Mexico that she find balance in each other. that her destiny is to become a photography: in these years that manages to express all her In 1929, she was expelled from

47 48 Spain, Russia and an Unclear End

Pino Cacucci October 1, 2013

Tina Modotti, sister, you don't sleep, no, you don't sleep: maybe your heart feels the rose grow yesterday, the last squad of yesterday, the new squad. Rest sweetly, sister ... Pablo Neruda January 5, 1942, epitaph dedicated to Tina Modotti

Mexico, the country she had in the convulsive events of the In the communist party she she joined the Soviet secret police chosen as her chosen homeland. Civil War.The last years of her life met Vittorio Vidali, who quickly and took part in many missions The motivation is obviously were marked by an increasingly became her lover. There is also for them traveling throughout political: she is accused of intense political commitment, talk of a relationship with the Europe. Then she stopped in taking part in the attack on the by accusations (according to painter Frida Kahlo, sure it is that Spain during the civil war with president, Ortiz Rubio. Thus began some she was involved in the the two women fought many her companion Vidali, and after a period of travel - perhaps it assassination of Trotsky), by the battles in the name of political a year in disguise they headed would be more correct to call deep sentimental bond with the ideals together, and were close back to Mexico. Her life became them escapes - from Rotterdam anti-fascist Vittorio Vidali. Her own friends. more complicated every to Berlin, from Moscow to Paris. death remains a mystery today: Due to her political activities, she day, crushed by the weight of Tina has a nomadic spirit, and is it seems that she was killed by was expelled from Mexico. This clandestine activities. clandestine well suited to change. To guide it, Vidali himself, for political reasons. also resulted in her ending and activities. According to some the political faith in Communism, artistic career. She works rare historians, the photographer was https://www.elle.com/it/magazine/storie-di- which subsequently takes her donne/a30983297/tina-modotti-fotografa/ after this event and her transfer to involved, together with her lover to Spain, where she participates Russia. When she arrived in Russia Vittorio Vidali, in the assassination

49 50 of Lev Trockij. Tina died in Mexico City on January 5, 1942, in circumstances that some call suspicious. Diego Rivera claimed that she had been murdered, and that Vidali himself had been the author of the murder. Tina could "know too much" about Vidali's activities in Spain during the civil war. The official truth, and perhaps the most probable, is that Tina that night, after having dinedwith friends in, was struck by a heart attack, and died in the taxi who was taking her home. Her grave is in the great Panteón de Dolores in Mexico City, and it bears part of an epitaph written for her by Pablo Neruda. Tina Modotti and Edward Weston on the Anniversary of the Arrival in Mexico,1924 http://www.grandi-fotografi.com/tina- modotti Tina Modotti, Sickle panicle cartridge, Mexico 1927

51 52 Her Legend Returns Home

Umberto Verdat August 23, 2019

History and personality beyond its art make Tina Modotti a legendary figure. In the first decades of the last century a beautiful, independent, artist and revolutionary woman, linked by strong passions to men with great artistic and political aspirations totally shared by her, could only become a myth.

Tina Modotti, Worker's hands, Mexico 1927

In 1922 Robo, painter and exhibition, found thanks to We then move on to the shots that "Manos supporting a shovel", husband of Tina, died of smallpox the Cinemazero collection, characterize her art, from 1926 "Manos de mujer lavando ropa" during a trip to Mexico, she left images made solely by Tina.The onwards, her goal becomes an are the hands of men and the USA to attend the funeral portrait of Julio Antonio Mella instrument of investigation and women who work, express the and in that sad circumstance predominates.The young Cuban social denunciation. fatigue of the daily life of poor she was fascinated by this revolutionary was her great love - the farmers are photographed people. land. A year later she moved to and also at her side intensified the from behind and wear very Moving on to the second section, Mexico with the photographer work of committed photographer similar hats, they convey a sense clearly separated from the first, Edward Weston, with whom she and political militant. of unity; "Eyes on Tina", about twenty shots had started a romantic and Mella was killed in the streets - the straw sombreros that that portray it, made by Edward professional relationship. of Mexico City by the assassins dominate the photo highlight a Weston and other photographers, Already from the early years of the Cuban dictator Gerardo symbol of Mexican culture; have been exhibited. In this it was perfectly inserted in the Machado just as he was returning - many of the sombreros appear section you can admire an artistic renewal and the nascent home with Tina. blurred to make the idea of ​​ absolute first: seventeen year protagonism of the women of the Here we note the great portraiture movement, a compact mass that old Tina photographed by her Central American country. of Modotti who, starting from the advances. Of course, there is no uncle Pietro Modotti. In January The exhibition is divided into teachings of the photographer shortage of icon photos, such as 1942 Tina Modotti died of a heart two sections, the first, "Occhi di Edward Weston, finds her own the woman with the anarchist flag attack in a taxi that is taking her Tina", brings together most of the path full of pathos. or the women of the people with home. As had already happened photographs from 1929 their children and their daily work. after the assassination of Julio

53 54 Tina Modotti next to her works University of Mexico City 1929

Antonio Mella, the reactionary and scandalistic press tries to transform Tina's death into a political crime and attributes responsibility to Vittorio Vidali, then her life partner. Pablo Neruda, outraged by these controversies, writes a strong poem that is published in all newspapers:"... on the jewel of your sleeping body she still holds Tina's tomb in the Pantheon de Dolores in Mexico City, with the profile designed by the sculptor Leopoldo Mendez out her pen and bloodied soul as and the first verses of the poetry of Pablo Neruda if you could, sister, rise again and smile over the mud. " http://www.strisciarossa.it/tina-modotti-la- sua-leggenda-torna-a-casa/

55 56 Tina Modotti and the Importance of Honest Photograph

Tian Junyao May 12, 2020

Modotti adheres to the at the same time directed by a avant-garde currents and in unique sensitivity and a disarming particular to extridentism, a delicacy. We can intuitively see current very attentive to social that this is a pair of puppet show issues. In 1927 she joined the hands Its composition elements Mexican Communist Party. are simple, with only one pair of Her photographic exhibition of hands and props for puppet show. 1929, which a painter of the time Tina Modotti was participating called "The first revolutionary in the Mexican Revolution when photography exhibition in she took the photo. She wanted Mexico", represents both the to reflect the cruelty of the culmination and the beginning of revolution through the suffering the end of her artistic career. The of the grassroots working people. unresolved conflict between life She just wanted to use this way and art defines the events leads to reflect the social status quo at A photo taken by Modotti in 1929: "The hands of the puppeteer", Mexico City, to light. She does this through a that time. now preserved at the Minneapolis Institute of Art in the USA deep, sharp and confident gaze,

57 58 "Photography, precisely because it can only be produced in the present and because it is based on what exists objectively in front of the camera, represents the most satisfying medium for objectively recording life in all its aspects and it is from this that it derives its document value. If we add to this sensitivity and intelligence and, above all, a clear idea of ​​the role it should have in the field of historical development, I believe that the result is something that deserves a place in social production, to which we should all contribute." (Tina Modotti, 1929).

In this photo, the hand, a symbol of action, industriousness and perseverance, are thus transformed into a concrete conjunction of man with life, confluence and metaphor. Tina Modotti's artistic vision is the result of a passionate and passionate life, and of a determined character that begins to define itself from its humble roots, and which over time becomes a force and spirit of observation, in a form of social responsibility only photographic art in its ability to capture the present moment.

59 60 BIBLIOGRAPHY

Books, Magazines or Articles Images Biography by David R. Brown, AIGI Medalista New York: Herb Lubalin, 1955 cover - Calla Lilies, Tina Modotti, 1925 Ellen M. Shapiro, Looking Back: Working with Herb Lubalin on U&lc, July 29, 2013 p. 1 - AIGA, Herb Lubalin, 1980 Eros, Fact and Avant Garde p. 4 - Alphabet: Lubalin graph, 1975 Images of Human Toil and Struggle, Rachel Spence, April 8, 2014 p. 5 - Magazine Cover: Avant Garde, 1969 The Incredible Story of Tina Modotti Unforgettable Photograph from the Adventurous and p. 8 - The Next War, Herb Lubalin, 1972 Legendary Life, Daniela Ambrosio, 2020 p. 9 - Advertisement, Herb Lubalin, 1959 Spain, Russia and an Unclear End, Pino Cacicci, 2013 p. 12 - Some Of Our Best Friends; Herb Lubalin, 1968 Tina Modotti, Her Legend Returns Home, Umberto Verdat, 2019 p. 13 - Eros, Herb Lubalin, 1962 p. 15 - Eros, Herb Lubalin, 1962 p. 16 - Fact, Herb Lubalin, 1964 Webliography p. 17 - U&lc vol.5 no.4, Herb Lubalin, 1978 p. 19 - Table of contents of U&lc’s first issue, 1973 Pinterest | https://www.pinterest.com/pin/369787819386454805/ p. 20 - U&lc vol.1.1, Herb lubalin, 1973 Paddle8 | https://paddle8.com/work/gianni-berengo-gardin/25691-Venezia/ p. 25 - Venice, Gianni Berengo Gardin, 1960 Creative Boom | https://www.creativeboom.com/inspiration/the-italians-works-by-gi- p. 31 - Untitled, Gianni Berengo Gardin anni-berengo-gardin-italys-most-celebrated-living-photographer/ p. 32 - Untitled, Gianni Berengo Gardin Leica Oskar Barnack Award | https://www.leica-oskar-barnack-award.com/en/insights/ p. 35 - Sicily, Gianni Berengo Gardin, 1982 gianni-berengo-gardin.html p. 38 - Varese, Gianni Berengo Gardin, 1987 Financial Times | https://www.ft.com/content/6a77b166-b8c2-11e3-835e-00144feabdc0 p. 40 - Inside the Nomad Camp, Florence, Gianni Berengo Gardin, 1993 The Leica Camera Blog | https://www.leica-camera.blog/2017/11/15/leica-hall-fame- p. 41 - Vaporetto, Gianni Berengo Gardin, 1958 award-2017-winner-gianni-berengo-gardin/ p. 47 - Self-portrait with Leica, Tina Modotti, 1931 Design Boom | https://www.designboom.com/design/gianni-berengo-gardin-photogra- p. 48 - Tina Modotti and Frida Kahol, 1928 phy/ p. 51 - Sickle Panicle Cartridge, Mexico, Tina Modotti, 1927 Italian Ways | https://www.italianways.com/interview-with-g-berengo-gardin/ p. 52 - Tina Modotti and Edward Weston on the Anniversary of the Arrival in Mexico,1924 Mudec | https://www.mudec.it/eng/ p. 54 - Worker’s hands, Mexico, Tina Modotti, 1927 Elle | https://www.elle.com/it/ p. 55 - Tina Modotti next to her works University of Mexico City, 1929 Grandi Forografi | http://www.grandi-fotografi.com/ p. 56 - The Tomb of Tina Modotti, Pino Cacucci, 2005 Striscia Rossa | http://www.strisciarossa.it/ p. 58 - The Hands of the Puppeteer, Mexico City, Tina Modotti, 1929 “You can do a good ad with poor typogra- phy, but you can’t do a great ad with poor typography.”

------Herb Lubalin

“Wine is red and photography is black and white.”

------Gianni Berengo Gardin

“Whenever the words ‘art’ or ‘artist’ are used in relation to my photographic works, I feel an unpleasant sensation undoubtedly due to the misuse of these terms. I consider myself a photographer, and nothing else.”

------Tina Modotti