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Limited Edition Platinum Prints of Iconic Images by Robert Capa
PRESS RELEASE Contact : Amy Wentz Ruder Finn Arts & Communications Counselors [email protected] / 212-715-1551 Limited Edition Platinum Prints of Iconic Images by Robert Capa, Henri Cartier-Bresson, George Rodger and David Seymour to be Published in Unique Hand-Bound Collector’s Book Magnum Founders, In Celebration of Sixty Years Provides Collectors Once-in-a-Lifetime Opportunity to Own Part of Photographic History Santa Barbara, California, June 6, 2007 – Verso Limited Editions, a publisher of handcrafted books that celebrate the work of significant photographers, announced the September 2007 publication of Magnum Founders, In Celebration of Sixty Years . Magnum Founders will include twelve bound and one free-standing rare platinum, estate-stamped prints of iconic images by four visionary photographers who influenced the course of modern photographic history – Robert Capa, Henri Cartier-Bresson, George Rodger and David “Chim” Seymour. The collector’s book celebrates the 60 th anniversary of Magnum Photos, a photographic co- operative founded by these four men and owned by its photographer-members. Capa, Cartier- Bresson, Rodger and Seymour created Magnum in 1947 to reflect their independent natures as both people and photographers – the idiosyncratic mix of reporter and artist that continues to define Magnum today. The first copy of Magnum Founders will be privately unveiled on Thursday, June 21 at the Museum of Modern Art, New York – birthplace of Magnum Photos – during the “Magnum Festival,” a month-long series of events celebrating the art of documentary photography. Magnum Founders will also be on view to the public at the Howard Greenberg Gallery, 41 East 52 nd St., New York, beginning on Friday, June 22. -
Copyright © 2014 by Ronald C. Rosbottom All Rights Reserved. in Accordance with the U.S
Copyright © 2014 by Ronald C. Rosbottom All rights reserved. In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at [email protected]. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 237 Park Avenue New York, NY 10017 littlebrown.com First Edition: August 2014 Maps by Lu Yi Little, Brown and Company is a division of Hachette Book Group, Inc. The Little, Brown name and logo are trademarks of Hachette Book Group, Inc. The publisher is not responsible for websites (or their content) that are not owned by the publisher. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. ISBN 978-0-316-21744-6 LCCN 2014938425 10 9 8 7 6 5 4 3 2 1 rrd-c Printed in the United States of America Preface Almost everything we know we know incompletely at best. And almost nothing we are told remains the same when retold. 1 —Janet Malcolm My affection for and personal experience of Paris led me to wonder what it would have been like to live there under German Occupation during the Second World War. I remember being an especially green and curious twenty-year-old Alabaman walking along the Boulevard Saint-Germain on the Left Bank in the early 1960s. -
Claude Cookman, IUB, 2011
Summary: Claude Cookman, April 9, 2010 Colleagues, Here is a summary of what I think are my most significant accomplishments since I presented my case for tenure in the fall of 1999. Thanks very much for your consideration. Teaching Peer-reviewed conference papers in teaching “The effects of Just in Time Teaching on motivation and engagement in a history of photography course,” lead author in a study with two graduate students, Sara Mandel and Mike Lyons. International Society for the Scholarship of Teaching and Learning conference, Washington, D.C., Nov 10, 2006. “A comparison of Just-in-Time Teaching across disciplines and course levels,” Laura A. Guertin, Claude Cookman, Sarah Zappe, Heeyoung Kim. International Society for the Scholarship of Teaching and Learning conference, Washington, D.C., Nov 10, 2006. Book chapters on teaching (Not peer-reviewed) “Using Just-in-Time Teaching to Foster Critical Thinking in a Humanities Course,” in Just In Time Teaching, eds. Scott Simkins, Mark Maier, Sterling, Va.: Stylus Publishing, 2009. (16 pages) Abstract. Details my use of the Just-in-Time Teaching method to foster motivation and engagement in students in my J462 History of Twentieth Century Photography course. It incorporates data collected across three semesters. “Transforming students into historical researchers: A Photographic Historian’s Perspective,” in The Scholarship of Teaching and Learning in Higher Education: Contributions of Research Universities, eds. William E. Becker, Moya L. Andrews, Bloomington: Indiana University Press, 2004. (22 pages) Abstract. Discusses my philosophy of teaching and learning and the methods I use to foster students’ development of critical thinking, creative practice and an historical consciousness. -
The Magnificent Eleven: the D-Day Photographs of Robert Capa
Men of the 16th Infantry Regiment seek shelter from German machine-gun fire in shallow water behind "Czech hedgehog" beach obstacles, Easy Red sector, Omaha Beach. © Robert Capa/Magnum Photos. The Magnificent Eleven: The D-Day Photographs of Robert Capa "The war correspondent has his stake — his life — in his own The Photographer: Bob Capa hands, and he can put it on this When soldiers of the 16th Regiment of the 1st horse or that horse, or he can put it back in his pocket at the Infantry Division landed at Omaha Beach on June 6, very last minute ... I am a 1944, photographer Robert Capa, in the employ of LIFE gambler. I decided to go in with Company E in the first wave." magazine, was among them. – Robert Capa Perhaps the best known of all World War II combat photographers, the Hungarian-born Capa The ten photos selected from the eleven surviving negatives had made a name for and published by LIFE on June himself well before 19, 1944 ... climbing into a landing craft with men of Company E in the early morning hours of D-Day. He risked his life on more than one occasion during the Spanish Civil War and had taken what is considered the most eerily fascinating of all war photographs. The famous image reportedly depicts the death of Spanish Loyalist militiaman Frederico Borrell Garcia as he is struck in the chest by a Nationalist bullet on a barren Iberian hillside. Capa was known to say, "If your pictures aren't good enough, you aren't close enough." On D-Day, he came close once again. -
Hitler's Germania: Propaganda Writ in Stone
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else. -
Remembering Ernst Haas
Special Report: Remembering Ernst Haas September 12, 2016 By Eric Meola “No photographer has worked more successfully to express the sheer physical joy of seeing.” — John Szarkowski, on Ernst Haas Thirty years have passed since the photographer Ernst Haas died on September 12, 1986. Haas was to color photography what Robert Frank was to black and white: a revolutionary. Looking at his work it is impossible to separate the person, his images and his words. Often called the ‘poet’ of photography, no other photographer influenced my generation as much as Haas did, and in a world of sound bites, Instagram and tweets, his writings are a bridge to another time when photography was a profoundly different medium and craft: In every artist there is poetry. In every human being there is the poetic element. We know, we feel, we believe…one cannot photograph art. One can only live it in the unity of his vision, as well as in the breadth of his humanity, vitality, and understanding. There is no formula—only man with his conscience speaking, writing, and singing in the new hieroglyphic "Pamplona, Spain 1956," by Ernst Haas language of light and time. — Ernst Haas Haas was born in Vienna in 1921 and famously bartered several kilos of butter in post-war Europe for his first camera, a Rolleiflex. At the invitation of Robert Capa he joined Magnum in 1949, and in 1951 he moved to the United States. In 1953, Life magazine ran 24 pages of his photographs of New York City in two consecutive issues, and in 1962 a retrospective of his work was the first color photography exhibition at the Museum of Modern Art in New York. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
University Microfilms International 300 N
THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
Two Visions of Spain in the 1950S: Eugene Smith and Brassaï
Two Visions of Spain in the 1950s: Eugene Smith and Brassaï In the nineteen fifties Spain caught the interest of a number of international photographers. Two specific projects are recalled here: Eugene Smith’s Spanish Village, a controversial feature with overt political intentions made for Life magazine, and Brassaï’s series Séville en fête made for Harper’s Bazaar, that proposes instead a picture of Spain halfway between the dream-like images indebted to Surrealism and the clichés of a tourist guide. extraordinary formal perfection, thanks to Smith’s painstaking way of composing his pictures in the manner of a stage director, and on the other it revealed the harshest aspects of Spanish reality, the subsist- ence economy, the Roman plough and the handcrafted distaff still in use, or the weight of authority symbolised by the two civil guards reproduced on a large scale by Life. In Spain, however, Spanish Village trig- gered great controversy. Mundo Hispánico review reminded its readers that it was a tendentious article, and that similar scenes The country’s relative opening up after the ten years of autocracy that followed the Span- could be found in the United States if one ish Civil War prompted many of the top photojournalists of the time to travel to the Iberian were to look for them. Arte Fotográfico, the Peninsula in the early fifties. American photographer William Eugene Smith (1918-1978) main photography magazine published at visited Spain early in May 1950 to prepare a feature on ‘the hunger and fear provoked by the time in Spain, declared that Spanish Franco.’ Smith’s assignment was for Life, one of the most important illustrated maga- Village was an ‘outrageous and deplora- zines of the day, each issue of which published a photographic essay, i.e., a picture se- ble’ feature, and that while it was true that quence accompanied by text and devoted to a single theme of special interest. -
THIS IS WAR ! ROBERT CAPA at WORK THIS IS ROBERT CAPA at Work WAR RICHARD WHELAN
THIS IS WAR ! ROBERT CAPA AT WORK THIS IS ROBERT CAPA at work WAR RICHARD WHELAN Steidl CONTENTS “If your pictures aren’t good enough, you’re not close enough,” the renowned Robert Capa said about Director’s Foreword 6 photography. These words could just as easily apply to the philosophy shared by all of us at BNP Paribas, Introduction by Christopher Phillips 8 the bank for a changing world. Capa spent most of his professional life traveling internationally, becoming intimately involved with the people and events he recorded. His work, seen in this exhibition and accompanying catalogue, shows how that approach creates exceptional results. BNP Paribas follows the same approach at all our locations in eighty-five countries around the world. THIS IS WAR ! ROBERT CAPA AT WORK We take pride in getting close to our clients. We apply the insights we gain from that intimacy to deliver banking and finance solutions capable of meeting their individual needs. by Richard Whelan On behalf of my 150,000 colleagues around the world, let me express our thanks for being part of this exhibition of Capa’s distinguished work. Let me also congratulate the International Center of Photography for its exceptional work in helping people explore the possibilities of the art of photography. 1 Robert Capa and the Rise of the Picture Press 11 Please enjoy this book and the exhibition. 2 The Falling Soldier, 1936 53 3 China, 1938 88 Sincerely, 4 This Is War! The End of the Spanish Civil War in Catalonia, 1938–39 134 Everett Schenk Chief Executive Officer 5 D-Day, June 6, 1944 206 BNP Paribas North America 6 Leipzig, 1945 252 Chronology Checklist of the Exhibition Bibliography DIRECTOR’S FOREW0RD Few photographers of the last century have had such a broad and last- recorder; he had a point of view and that, more than any blind pursuit tinguished cultural historian, Richard’s magisterial biography of Capa, Other important contributors include Christian Passeri and Sylvain ing influence as Robert Capa. -
Heritage Vol.1 No.2 Newsletter of the American Jewish Historical Society Fall/Winter 2003
HERITAGE VOL.1 NO.2 NEWSLETTER OF THE AMERICAN JEWISH HISTORICAL SOCIETY FALL/WINTER 2003 “As Seen By…” Great Jewish- American Photographers TIME LIFE PICTURES © ALL RIGHTS RESERVED INC. Baseball’s First Jewish Superstar Archival Treasure Trove Yiddish Theater in America American Jewish Historical Society 2002 -2003 Gift Roster This list reflects donations through April 2003. We extend our thanks to the many hundreds of other wonderful donors whose names do not appear here. Over $200,000 Genevieve & Justin L. Wyner $100,000 + Ann E. & Kenneth J. Bialkin Marion & George Blumenthal Ruth & Sidney Lapidus Barbara & Ira A. Lipman $25,000 + Citigroup Foundation Mr. David S. Gottesman Yvonne S. & Leslie M. Pollack Dianne B. and David J. Stern The Horace W. Goldsmith Linda & Michael Jesselson Nancy F. & David P. Solomon Mr. and Mrs. Sanford I. Weill Foundation Sandra C. & Kenneth D. Malamed Diane & Joseph S. Steinberg $10,000 + Mr. S. Daniel Abraham Edith & Henry J. Everett Mr. Jean-Marie Messier Muriel K. and David R Pokross Mr. Donald L. SaundersDr. and Elsie & M. Bernard Aidinoff Stephen and Myrna Greenberg Mr. Thomas Moran Mrs. Nancy T. Polevoy Mrs. Herbert Schilder Mr. Ted Benard-Cutler Mrs. Erica Jesselson Ruth G. & Edgar J. Nathan, III Mr. Joel Press Francesca & Bruce Slovin Mr. Len Blavatnik Renee & Daniel R. Kaplan National Basketball Association Mr. and Mrs. James Ratner Mr. Stanley Snider Mr. Edgar Bronfman Mr. and Mrs. Norman B. Leventhal National Hockey League Foundation Patrick and Chris Riley aMrs. Louise B. Stern Mr. Stanley Cohen Mr. Leonard Litwin Mr. George Noble Ambassador and Mrs. Felix Rohatyn Mr. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.