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1 2 Series Editor Sarah Hermanson Meister The Museum of Modern Art New York 10 11 You’re supposed to stop and smell the roses, but truth be told it doesn’t take that long to smell them. You hardly have to stop. You can smell the roses, and still have time to run all those errands before the sun goes down and it’s dinner time. 18 19 If you can’t get there by yourself, someone might be able to take you. They might be going that way anyway, or more likely you will give them money and they’ll do it. This is the history of the entire world. 28 29 If you had to leave right this minute forever, what would you take with you? Just this. Just this. Everything. 34 35 Jump right in, or wade in slowly. Advantage to one, it’s over quickly. Advantage to the other, it isn’t. 38 39 52 53 Tell me exactly why I should go. I mean, stay. Tell me that. 56 57 there is no such thing as waiting for daniel. he is always ahead of me. every time I have come around the corner or into the lobby or into the room, there he is waiting for me in a crisp shirt (pink?) and an elegant suit (gray?). once, only once, he was not, and I thought that he must have fallen out of a window or been hit by a bus. i went into a cold, quiet panic. and then daniel came walking around the corner. something insane had detained him. it was not his fault at all. —M. K. About the same time I met Maira, I made a New Year’s resolution never to run for a bus again. When you run for a bus and miss it, you’re humiliated. When you run for a bus and catch it, you’re on a bus. I show up half an hour early for everything because that’s how I was raised. When I am meeting Maira someplace I sit and wait but I don’t mind. One reason I don’t mind is that I always have a book with me. The other reason is that it’s worth it. —D. H. by the way, if you are in a hurry, the only thing to do is slow down. —D. H. / M. K. 58 59 The book in your hands is similar to one called Girls Standing perhaps, they simply enjoy the art more deeply. But this is also on Lawns in many significant ways. Both are collaborations a responsibility: by putting things together I’m implying there between Maira Kalman, Daniel Handler, and The Museum of is a connection, and occasionally that connection would have Modern Art. Both feature a sequence of photographs from been unimaginable to one or both of the artists (separated by MoMA’s unparalleled collection, interspersed with Maira’s generations, by oceans, or just by circles of acquaintances). tender and surprising paintings, and Daniel’s evocative prose. So I do my best, in exhibitions and publications, to respect the The books also match: both are eight artist’s intent. Here, however, Maira and Daniel are using inches tall, five inches wide, with the works of art in a different way: they’re making a work of identical letter styles (or typeface) and art themselves (what we call an “artist’s book”), so they aren’t Maira’s distinctive hand writing on the concerned if the makers of these photographs would have cover. But whereas Girls Standing on used the words “hurry” or “wait” to describe their images, or if Lawns exclu sively featured snapshots they would have minded the implied connection to a work on by photographers whose names are the opposite page. unknown to us, this book includes many photographs by photographers When one artist uses another artist’s works as the basis for whose names we know, as well as a his or her own, it is something we refer to as “appropriation.” host of other details about what she You could say, for instance, that Maira appropriates a or he thought, and why she or he made photograph when she uses it as the inspiration for one of her the work. In the museum world, we paintings. And all of the photographs take on new meaning refer to this as the artist’s intent, and in the context of Maira and Daniel’s book. Some artists enjoy we take it very seriously. the potential for confusion and will deliberately say very little about what they think their work means, because they Curators are individuals who collect, want us to come to our own conclusions. Some artists, preserve, and interpret objects, often such as El Lissitzky, whose design for a Soviet sports-club those held by public institutions (the root of the word is mural appears here, believed that art could change society. curare, which in Latin means “to care for”). As a curator, He so clearly declared his revolutionary intentions that I’m I love to make connections between works of art, either by less comfortable using his image to tell a story about hurrying hanging them near one another in exhibitions or reproducing (even through he had no problem using the photographs them next to one another in books. If I do this well, my of others as layers in his work). But we’ve included it anyway, audience learns something, or their curiosity is piqued, or, to highlight this complication. Sarah Hermanson Meister Curator, Department of Photography The Museum of Modern Art, New York 60 61 The Photographs All works are in the collection of The Museum of Modern Art, New York. Except where noted, they are gelatin silver prints. The dimensions correspond to the image size with height preceding width. Cover and page 1 Page 8 Page 12 Page 17 Page 22 Page 27 Page 31 Page 35 Rudy Burckhardt Unknown photographer Garry Winogrand Dorothea Lange Simpson Kalisher Bill Brandt (American, 1895–1965) (American, born 1926) (British, born Germany. (American, born Switzerland. Untitled. c. 1930. 3 1⁄16 × (American, 1928–1984) 1914–1999) Mother and Child, San A Railroad Crossing. 1904–1983) 2 1⁄16" (7.7 × 5.2 cm). New York City. 1961. 1 7 Francisco. 1952. 9 ³⁄8 × 1955. 4 ¹⁄2 × 9 ⁄16" Losing at the Horse Untitled, from the Gift of Peter J. Cohen 13 ³⁄8 × 8 ⁄8" (34 × 5 Races, Auteuil, Paris. album Photographs 22.5 cm). Gift of the 7 ⁄16" (23.8 × 18.6 cm). (11.5 × 23 cm). Gift of c. 1932. 8 3⁄8 × 6 15⁄16" by Rudolph Burckhardt; Page 14 artist Gift of the artist Gloria Richards Sonnet by Edwin Denby. Stephen Shore Stephen Shore (21.3 × 17.6 cm). Gift of 3 5 (American, born 1947) Page 24 Page 28 Edwynn Houk 1946–47. 10 ⁄16 × 7 ⁄16" (American, born 1947) Page 18 Times Wide World Chicago, Illinois. July Judith Joy Ross Eugène Atget (25.8 × 18.6 cm). Gift Breakfast, Trail’s End Helen Levitt Photos 1972 (printed 2013). (American, 1913–2009) (American, born 1946) (French, 1857–1927) Page 32 of CameraWorks, Inc. Restaurant, Kanab, (American, active 1919–1941) 9 Untitled, from Eurana Untitled [ragpicker]. Helen Levitt and purchase Chromogenic color Utah. 1973. Chromo- New York. 1982. 9 ⁄16 × (American, 1913–2009) A Famous Fisherman in 2 7 Park, Weatherly, 1899–1900. Gelatin print, 5 × 7 ¹⁄ " (12.7 × genic color print, 9 × 6 ⁄16" (24.3 × 16.4 cm). 5 New York. c. 1945 Action. 1932. 9 ⁄8 × Page 5 19.1 cm). Gift of the Gift of Marvin Hoshino Pennsylvania. 1982. silver printing-out- 11 ¹⁄8" (22.9 × 28.3 cm). 7 ³⁄4" (24.5 × 19.7 cm). Gelatin silver printing- paper print, 8 11⁄16 × (printed c. 1970). Lee Friedlander artist Purchase in memory of 5 9 13 13 The New York Times (American, born 1934) out-paper print, 9 ⁄8 × 6 ⁄16" (22 × 16.7 cm). 9 ⁄16 × 6 ⁄16" (24.9 × Ben Maddow Collection 11 17.2 cm). Gift of Janice New York City. 1962. Page 9 Page 15 7 ⁄16" (24.5 × 19.5 cm) Abbott-Levy Collection. 4 Tod Papageorge Page 19 Gift of Richard O. Partial gift of Shirley C. Levitt 5 ¹⁄ × 8" (13.3 × 20.3 cm). Page 37 (American, born 1940) Rieger Burden Carl Jacobs Fund Garry Winogrand Helen Levitt Fifth Avenue. 1970. (American, 1928–1984) Page 33 (American, 1913–2009) 7 ³⁄4 × 11 11⁄16" (19.7 × New York City. 1968. Page 25 Page 29 Joel Sternfeld Page 6 1 16 (American, born 1944) New York. 1983. 7 ⁄ × Michael Putnam 29.7 cm). John 8 7⁄8 × 13 3⁄16" (22.5 × Dorothea Lange Summer Interns, Wall 10 ³⁄4" (17.9 × 27.3 cm). (American, born 1937) Parkinson III Fund 33.5 cm). Purchase (American, 1895–1965) Street, New York. 1987. Gift of Marvin Hoshino New York City. 1970 and gift of Barbara On the Road to Los 15 Page 10 Angeles, California. Chromogenic color (printed 2014). 7 ⁄16 × Schwartz in memory of Pages 38 and 39 7 Philip Fein 1937. 8 × 7 ³⁄4" (20.4 × print, 33 ³⁄4 × 42 ¹⁄2" 11 ⁄16" (20.1 × 29.1 cm). Eugene M. Schwartz Yves Klein (American, 1912–1994) (85.7 × 107.9 cm). Gift Gift of the artist Dorothea Lange 19.7 cm). Gift of the (French, 1928–1962) Three Kids and a Sled. of the artist (American, 1895–1965) Page 20 Farm Security Leap into the Void. c. 1940. 9 ¹⁄8 × 10 ¹⁄2" Page 7 Man Stepping Rudy Burckhardt Administration 1960.