Henri Cartier-Bresson

At The Photography Show, 2019: The Galleries

Written & Photographed by Kenn Sava (*unless otherwise credited)

I love The Photography Show.

AIPAD, 2019, stretches as far as the eye can see- in all directions. There’s A LOT to see, and I’m here to see ALL of it. The view early Saturday afternoon, April 6, 2019. My thanks to DeShawn for his assistance with this shot. Click any picture for full size.

After all, the Association of International Photography Art Dealers, who present it, and I, have a core value in common- a passion for Fine Art Photography.

The Photography Show entrance at Pier 94 on the Hudson River, April 7, 2019.

More commonly referred to as AIPAD (as I will henceforth), the show is the only chance all year in NYC for a large segment of the Fine Art Photography world here, or able to get here, to get together. That alone makes it a must attend event for anyone involved in Photography, for anyone interested in seeing the widest range of Fine Art Photographs presented in one place at one time in town all year long, and for anyone looking for something to hang on their wall that they will want to keep looking at indefinitely.

And? AIPAD is so B I G, there really is something for every taste hanging inside Pier 94.

In 2019, the show was noticeably smaller, though, as you can see, it was still plenty large enough that it really required at least two visits to see all of it, and that’s not counting  the AIPAD Talks (which included Dawoud Bey, Sarah Greenough, Stephen Shore, and Harry Benson, separately, this year), Aperture’s Photobook Showcase, and various book signings and Photographer booth visits, which were ongoing over the weekend. If you wanted to take in some or all of those, too, attendance for the full five day run was the only way. Taking my own advice, over my five long days of attendance, I believe I saw all of it, though I was so busy with the gallery and PhotoBook areas I missed all the talks this year, much to my chagrin.

I love the smell of freshly hung Photographs in the morning.

For me, and I think for most other visitors, no matter how many Photographers you’re familiar with? You’re guaranteed to add a few new names to your list- and “new names” has nothing to do with their age.

The legendary Danny Lyon, subject of a solo retrospective at The Whitney Museum in 2017, takes a break during his book signing on Saturday, April 6th at Etherton Gallery’s booth in front of a collage he created between 2016 and 2018.

Most of all? I love getting to see and meet Photographers. Maybe even get a book signed. After all? If it wasn’t for the Photographers? There’d be no show. 

The closing day crowd at SoPhoto Gallery’s booth, who came all the way from Beijing, China, to show Yaqiang Chen.

In the gallery booths, the range and variety of work on view was the best thing about the show. As I was in 2017 and 2018, I was most impressed by the displays of Photographers not as well known in NYC, or in the USA for that matter, as they are elsewhere shown by galleries who traveled long distances to attend, like SoPhoto and PeterFetterman Galleries.

8 evocative Untitled works by Noell Oszvald, a Hungarian Photographer still in his 20’s, seen at Peter Fetterman Gallery, Santa Monica, CA.

Others paid homage to the host City with classic reminders of our Photographic past.

All the way from Munich, Germany, Galerie f5.6 brought beautiful and interesting work, as well as these two classic slices of vintage NYC from one of its favorite sons, Saul Leiter.

The NYC Galleries were also in the house, of course, and well represented by long standing big names like Laurence Miller Gallery-

Ray K. Metzker’s extraordinary Nude, 1966-74, one of his legendary Composites highlighted his long time dealer, Laurence Miller Gallery’s, presentation.

Howard Greenberg Gallery-

Dave Heath, a new discovery for me in 2019, who quickly became one of my favorites for his powerful, poingent portraits and his superb printing. Seen here at Howard Greenberg.

Edwynn Houk Gallery-

A gorgeous Sally Mann portrait, Virgina #42, 2004 flanked by The Trombone Player #6, 2018, by Paolo Ventura, left, and American Dream, Self-Portrait with Alex, 2018, by Erwin Olaf at NYC’s Edwynn Houk Gallery.

Yancey Richardson Gallery-

Zanele Muholi beautifully filled all of Yancey Richardson Gallery’s space.

Bruce Silverstein-

Rosalind Fox Solomon, Selected Photographs, 1975-2011, featuring a number of images from her recent MACK Book, Liberty Theater, which made my NoteWorthy PhotoBooks, 2018, list. Ms. Solomon and Dawoud Bey were announced as winners of the ICP 2019 Infinity Award in February. Seen at Bruce Silverstein.

and newer names, including Elizabeth Houston Gallery-

Nico Krijno at Elizabeth Houson Gallery.

who displayed a fascinating group of pieces by the talented and versatile Nico Krijno.

Dawoud Bey, Untitled #17 (Forest), from Night Coming Tenderly, Black, 2017, at, and *Photo courtesy of, Stephen Daiter Gallery

But, the consensus “hit” of the show, from all those I spoke with- Photographers, publishers, visitors and other gallerists, was undoubtedly the the work of Dawoud Bey shown by Stephen Daiter Gallery, Chicago. The group of new landscapes from his Night Coming Tenderly, Black, series based on an imagining of the flight of passage along the Underground Railroad, were singled out more than anything else on view by those I spoke with, and his group of four portraits dating from 1989-90 were almost as frequently mentioned. This continues the recent overdue attention given to this 40 year veteran Photographer’s work, along with the concurrent show at the Art Institute of Chicago of 25 works from Night Coming Tenderly, Black, and the February announcement of Mr. Bey as a recipient of the 2019 International Center of Photography Infinity Award.

Portraits by Dawoud Bey, from left to right, Young Man at a Tent Revival, 1989, A Woman at Fulton Street and Washington Avenue, 1989, Couple in Prospect Park, 1990, and A Girl With A Kinfe Nosepin, 1990, at Stephen Daiter Gallery. 

As mentioned earlier, Etherton Gallery devoted their main space to a mini-retrospective of the work of Danny Lyon, titled Danny Lyon: For the Record. 

On view were works from all of his most well-known series, The Bikeriders and Conversations With the Dead, and The Destruction of Lower Manhattan.

Along side others not as well-known

Two works that hint at the range of Danny Lyon over what has been a long and acclaimed career.

Monroe Gallery, returned to us from Sante Fe, New Mexico, showing the work of Tony Vaccaro, graced by the presence of the Dean of all Photographers once again, looking as spry as ever at NINETY-SEVEN! (Tony, WHAT’S your secret??)

97 years young, Tony Vaccaro sits in front of a wall of his historic work at Monroe Gallery on April 6th. Off frame, to the left, he and I are surrounded by a crowd filling the space to see & hear the legend, who I had the honor of speaking with last year.

As joyful as it always is to see Mr. Vaccaro, the discovery for me at Monroe Gallery was the work of independent Photojournalist Ryan Vizzions.

Ryan Vizzions, Protestors face off with police and the National Guard on February 1, 2017, near Cannon Ball, North Dakota, 2017. *Courtesy Ryan Vizzions.

I happened to walk into Monroe Gallery’s booth when Mr. Vizzions was there signing his brand new PhotoBook, No Spiritual Surrender: A Dedication to the Standing Rock Movement and discussing both the work on view and his background, both of which held me rapt. Shortly after his father’s passing, he quit his job and armed with a Nikon D3300, he headed west to document the Standing Rock Protests, one of the largest in American History, taking place at Standing Rock Reservation in North Dakota from April, 2016 to March, 2017. After an initial 3 week visit to Oceti Sakowin camp, he was so taken with what he found that he went home, sold everything and headed back. He stayed from late October through the winter and came away with an amazing body of work that, in my opinion, follows right in the footstep of the finest tradition of PhotoJournalism.

Ryan Vizzions poses in front of a selection of his powerful work at Monroe Gallery’s booth at AIPAD on April 6, 2019.

I subsequently found that I’m far from the only one taken by this young man’s work. Ryan has already won multiple “Photo of the Year” Awards- in 2016 from People, Artsy.net, and Mic.com. In 2017, from the Guardian and ABC News. He’s also had his life threatened. Now, he’s represented by Monroe Gallery. More on Ryan and his story, here. Ryan’s book, No Spiritual Surrender: A Dedication to the Standing Rock Movement  is highly recommended.

Elsewhere around the show, here are some other highlights-

Mary McCartney, Tracey Emin as Frida Kahlo, London, 2000, seen at Staley Wise Gallery

A selection of classic Henri Cariter-Bresson prints seen at Augusta Edwards Fine Art, London, UK.

Brian Clamp, the tall gentleman, center, seen at his ClampArt booth, showing cutting edge work, as usual.

One of the leading Photography gallerists in the South, Atlanta’s Arnika Dawkins, left, of Arnika Dawkins Gallery Photographic Fine Art, presented one of her latest finds, Ervin A. Johnson’s mixed media portraits, and Jeanine Michna-Bales, who I featured in an AIPAD Discoveries piece last year.

Imogen Cunningham Agave Design 1, 1920. Seen at Edwynn Houk Gallery.

Installation view- A Room for Solace: An Exhibition of Domestic Interiors Curated by Alec Soth

A discussion of highlights has to include the exhibition curated by world renowned Magnum Photographer Alec Soth, fresh off the release of his newest book, I Know How Furiously Your Heart Is Beating, and the opening of his solo show of the same work at Sean Kelly Gallery.

This section consists of Wayne F. Miller, Rebecca Norris Webb (who’s married to Alex Webb) and Harry Callahan, left to right.

Mikael Levin, Onus, 2000, Sirkka Liisa Konttinen, Emma Dowds (Step by Step series), 1982, Unknown, Interior of an American Home, c.1900, Marie Cosindas, Sailors Key West, 1966, Bill Owens, We’re really happy, 1972, from Suburbia, Walker Evans Kitchen in Floyd Burrough’s Home, Hale County, Alabama, 1936

Osamu James Nakagawa, Curtain, Tokyo, Spring, 2003, From the series Kai

Mr. Soth selected a fascinating variety of Photographs around the theme, A Room for Solace: An Exhibition of Domestic Interiors. His selections  from the galleries attending the show was continually fresh and surprising, made all the more fascinating in his carefully considered hanging. Couches and tables in the space added a “homey” touch, but most of all, I was excited to see a Photographer have a chance to select and lay out at least one section of AIPAD, and Alec Soth did a terrific job, in my opinion.

Observations-

I really can’t say that over the five days in the gallery section, I heard any complaints. The only issue seemed to be with the carpeting in the booths, which was lumpy in places throughout the show, and seemed to be a bit tricky for those wearing certain types of shoes. I witnessed one stumble that could have been disastrous (for the visitor and the Art), except for a quick extended hand keeping a stumble from being a fall. Outside of that, the only question I heard more than once, and I heard it each day, was where “Where can I get coffee?” (The only spot I found was in the very back, behind the publishers.) Those minor issues aside, I think it’s safe to say that AIPAD was a well-run machine this year and that any issues from prior years were addressed for this year’s edition (this, the opinion of some returning booth holders I spoke with, and some I pointed out in the past). The staff was friendly, cordial yet focused, and professional throughout, regardless of the role they had. Security was exceedingly well handled, from a visitor’s perspective, both entering and leaving the show. I didn’t encounter anyone who had an issue with a staff member throughout the run of the show.

Of course, the biggest issue remains Pier 94, itself. It’s in one of the least convenient areas of mid-town Manhattan, barely serviced by mass transit, which makes it hard to get to, or leave, particularly in any kind of inclemency. Here’s one esteemed visitor’s experience getting there this year. My feeling is this must cut down on attendance dramatically. Perhaps 33 to 50%? Of course that needs to be weighed versus the added cost and size limitations of a different location, something I have no doubt has been considered long and hard. When I asked a variety of those I encountered about the location, all agreed about its inconvenience, but none were willing to sacrifice the size for convenience. I agree with them.

In conclusion-

Any piece such as this can only hope to show only a sample of the many thousands of Photographs on display. The work on view was only a portion of what the galleries actually brought to the show- a good number brought a fair amount of stock with them that wasn’t actually hanging on the walls as well. As I walked through the galleries each day, it seemed to me the attendance was steady and the galleries were busy. From the telling “red dots” I saw on name cards, and from the wrapped pieces I saw being carried out, my sense was that business was as good as it was last year. Prices seemed to have edged up, particularly for the “big names” in Modern & Contemporary Photography, but there was plenty of work I saw by Photographers who are well known today that were to be had at quite affordable prices, (and almost all of it was in signed & numbered editions this year, after seeing a number of open editions in prior years).

Alec Soth chose to end his show with Fred Herzog’s My Room, Harwood Street, 1958, a work that has special resonance for me. After seeing the display of his work at Equinox Gallery’s booth, I bought my Fred Herzog at AIPAD in 2017.

Considering the length of the history of Photography, the increasing international exposure for Photographers from all over the world by galleries, PhotoBooks, and the internet, the range and the quantity of Fine Art Photographs available for sale has never been greater. The Photography Show was a terrific opportunity to see a good deal of it in one place, to learn more about Photographers you’re interested in and discover new ones, to see how the work of different Photographers looks hanging side by side, to compare prices, and to walk away with something new to hang on your walls.

And I have.

For the third year in a row, I’m pleased to present extensive coverage of The Photography Show presented by AIPAD. As I did in 2017 and 2018, this will include a portfolio of pieces, each focused on a segment of the show. The next part looks at the PhotoBook Publishers, Book Dealers and Organizations area. Two subsequent pieces consist of an “AIPAD Focus” close up look at a leading light in Photography, and at least one (and I am hoping two) AIPAD Discovery piece(s), reprising a popular feature I inaugurated last year, that will focus on a particularly NoteWorthy Photographer previously not known to me. Hopefully, two. Stay tuned!

*- Soundtrack for this Post is “Take Me To The River” by Al Green.

My thanks to Margery Newman. 

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NoteWorthy PhotoBooks, 2018

Written & Photographed by Kenn Sava (*except as credited)

Let’s go book shopping! As I list PhotoBooks I consider NoteWorthy, let’s remember the Bookstores that are still left where you can actually see these books. The Strand Bookstore, NYC, is one of those I frequent. I hope there is at least one near you. Click any Photo for full size.

Another day. Another chance to look at PhotoBooks, to see life, and the world, through someone else’s eyes, to learn something and just maybe have a revelation. I look at A LOT of PhotoBooks (and Art Books). Nary a day passes that I don’t see one/some somewhere. In bookstores, used bookstores, museum stores, galleries, book fairs, pop-up shops, garage sales, online- you name it. Both, just released PhotoBooks and those I’ve only known through legend. I’m getting close to eating, sleeping and breathing Photo & ArtBooks. Why? I use them to research my pieces, to learn about Artists known & unknown to me, and to explore that fascinating phenomenon that is the PhotoBook- which, in its ultimate form, is a work of Art unto itself. A third of those I see I never look at, or think about, a second time. About 40% I do either look at again or think about again. And, far too many of them I purchase. (For the record- Yes, I’ve put my money where my mouth is. I bought every book on this list.)

MoMA PS1, Long Island City, scene of the recent New York Art Book Fair. In case you don’t know, there’s a quite good full time Art & PhotoBook store tucked inside, in addition to the excellent magazine shop off the lobby, right behind that grey wall to the right.

So, after all of this looking, I’ve decided to share a few of those here that have turned out to be especially memorable, or “NoteWorthy,” as I’m fond of saying (There’s no such thing as “best” in the Arts, in my view. I don’t believe in comparing Artists or creative work). Compiling this has been very hard.

Depth of Field. The scene in just one of the many rooms at the New York Art Book Fair (NYABF) @ MoMA PS1, Long Island City, September 21, 2018. I handed my camera to Kris Graves who took this Photo with it from behind his table.

First, we live at a moment when there are more PhotoBooks being produced than ever before. It seems there are an incalculable number of publishers and Artists creating books at a speed I doubt anyone can keep up with. So, as many PhotoBooks as I look at represents only a small percent of those released. Hey, I really tried!

William Eggleston: Black & White. The cover image shown on pages 82-3 of Steidl’s Fall/Winter 2017/2018 Catalogue. I was very much looking forward to seeing what revelations this might hold  in 2018 after the showing of Eggleston’s black & white work at The Met a few months back. Where are you? Phone home. *Steidl Photo. 

Another thing is a bit complicated. Publication dates have become hard to figure. Some of the bigger PhotoBook publishers announce books and show them in their catalogs up to one year before they ever show up in stores here (physical bookstores). The brand new hardcover version of Steidl’s Fall/Winter 2018/19 catalogue now even contains a section featuring “Previously Announced” Books (i.e. books originally scheduled to have been out this year)! Some “Previously Announced” books never do show up (Steidl now completely omits the “Previously Announced” William Eggleston: Black and White. ?). And then, a book that appears as a newly released book in a bookstore here may have come out to the rest of the world in 2016 or 2017. How to treat those books? Do they “count” as eligible for 2018 lists? After mulling this over the past few months, I’ve decided to give lesser priority to publication dates and go by when I first saw the book appear in stores. So, one or two of these may have been released over the past few years, though most of them say “2018” in them. For me, the date of the book isn’t as important as the impact its had on me. That’s my criteria. Maybe, you’ll agree, maybe you won’t. Either way, I encourage you to make your own list.

The Rare Book Room at Strand Bookstore. How many books released this year will end up here?

Ok. With all of that out of the way, here they are, listed in no particular order, in a special edition of my regular BookMarks feature. (First, a special note-If you like what you find on NighthawkNYC, I hope you’ll consider supporting it so that I can continue to spend the countless hours and pay the expenses its taken to keep it going these past 3 years- without running ads. If you would like to, you can make a donation through PayPal by clicking on the box to the right of the banner at the top of the page that will take you to the Donation button. Your support is VERY much appreciated.)

***NoteWorthy PhotoBooks, 2018***

How do they do it? Teamwork. Lester Rosso, left with Paul Schiek, the creative masterminds behind TBW Books, and in front of their sign, reveal one of the secrets of their magic that, it seems to me, a number of others are now trying to emulate. Good Luck with that! Their secret? They consistently make excellent books with top Artists. NYABF, September 21, 2018.

-Gregory Halpern, Confederate Moons with Jason Fulford’s Clayton’s Ascent, Viviane Sassen’s Heliotrope and Guido Guidi’s Dietro Casa, part of TBW’s excellent Annual Series 6. If I were to recommend one new book this year, Gregory Halpern’s would be it. When I look at it, I see a frozen moment in life in America, 2017, seen in the shadows of the solar eclipse, an instant when nature reminds us that everything we stress out about or fight about pales alongside the power IT holds. My look at Confederate Moons is here. 

Gregory Halpern, left with the beard and the glasses, and Jason Fulford, right, in the green striped shorts, authored two of the four volumes in this year’s TBW Annual Series here sign them at TBW’s booth, NYABF, September 21, 2018. PhotoBook Business 102- You know you’re doing something right when Artists like these two want to work with you. Mr. Fulford has his own respected publishing house, J&L Books. Mr. Halpern, the 2016 Paris Photo-Aperture PhotoBook of the Year Award Winner, is fresh off his nomination to join Magnum Photos.

–Diane Arbus: A box of ten photographs, Aperture. The only portfolio Diane Arbus produced during her lifetime is beautifully reproduced from the only set in a public collection, which happens to be the only one with 11, not 10, Photographs. This is one of the books that will be essential for anyone interested in Diane Arbus henceforth. Aperture says “it will never be reprinted.” Nuff said.

Instant classic. Diane Arbus: A box of 10 photographs. Seen at Aperture Gallery & Bookstore, an NYC Photo mecca.

-Harry Gruyaert, Harry Gruyaert (Retrospective with the red cover), and Harry Gruyaert: East/Westboth Thames and Hudson- Two books that solidify the Belgian-born Photographer’s place alongside the better-known “early masters of modern & contemporary color Art Photography,” including Eggleston, Stephen Shore, Saul Leiter, et al. (A term that puzzles me since color in fine Art Photography can be traced back to, at least, Sarah Angelina Ackland, circa 1900). More on both books in my recent conversation with Harry Gruyaert, here.

One of the irreplaceable things about physical book stores are its people, like Miwa Susuda of Dashwood Books, seen here. Miwa is, also, a writer and a PhotoBook publisher with her Session Press. In 2017, Session Press and Dashwood Books released the fine Blue Period / Last Summer by the legendary Japanese Photographer, Nobuyoshi Araki, a copy of which she holds. Seen at Dashwood on October 24, 2018.

-Cristina de Middel– The Perfect Man. Cristina de Middel is an Artist who should win an MTV Video Vanguard award. Huh? What I mean is that I can think of no other Photographer who’s books are consistently pushing the boundaries of what a PhotoBook is and can be. This is just the latest in her series of compelling books, most of which are built around subjects that only the most imaginative would say “There’s a PhotoBook in this!” While that certainly wins her major points in my book, if she wasn’t, also, a world class Photographer, she would just be a curiosity. She is. But, you don’t have to take my word for it- Magnum Photos nominated her to join the world’s leading Photographic collective in 2017. The Perfect Man starts with looking at the largest Charlie Chaplin impersonator festival (with many of its subject posed in scenes reminiscent of Mr. Chaplin’s immortal “Modern Times”), and winds up being a broad look at Indian masculinity, and then a look at social customs Indian women are faced with interacting with them. It’s another book that surprises, and another book, like her classic The Afronauts1, that shows the new and old worlds colliding at full speed in unexpected ways.

Kris Graves holding the contents of LOST, which comes as a set in the spiffy orange box with blue lettering under his hand at his +Kris Graves Projects booth at the NYABF, September 22, 2018. His newly released A Bleak Reality is seen in the foreground.

-Kris Graves, et al, LOST +Kris Graves Projects. A ground-breaking (sorry!) work in a number of ways. First, it’s a daring, TEN volume box set by a smaller publisher featuring the work of a number of established Artists (including Lois Conner and Lynn Saville) along side that of others who are on the way up (like Zora J. Murff, Joseph P. Traina and Owen Conway), each contributing a PhotoBook on a different city around the world. Second, typically for +KGP, the cost is quite reasonable, for both the individual books or the set. And last, taken as a whole it’s a stunning example of what a well-run, Artist-run publishing house can achieve. Did I mention that each component book stands, and stands out, on its own? Also in 2018, A Bleak Reality by Kris Graves from +KGP is a powerful look at 8 sites where young black men were murdered by police officers, a collection of his work that first brought Kris to my attention at AIPAD this past April, as I wrote about here.

Multi-talented Artist & Gnomic Book publisher, Jason Koxvold, center, with Gnomic Book Artists Shane Rocheleau, left, and Romke Hoogwaerts, right at the Gnomic Book booth at the NYABF, September 22, 2018.

-Shane Rocheleau, You are Masters of the Fish and Birds and All the Animals (or, YAMOTFABAATA as it reads on its spine), Gnomic Book. A book that looks at the legacy of being white and male in America, quickly expands in scope to include any number of related effects, artifacts and institutions. It also reveals that the words “think small” apparently do not exist in Mr. Rocheleau’s vocabulary. The results are a first PhotoBook that’s extremely ambitious in its scope, biblical in its effect, gorgeously shot with a magical combination of subtlety and abstraction, edited like a Stanley Kubrick film, and exquisitely produced down to the smallest detail- (like its beautiful, hypnotic, and seductive to the touch, cover)…Phew! Along the way, it’s also chock full of indelible images that combine to make it linger and linger on in the mind later. A remarkable achievement, particularly for a first PhotoBook- the only first PhotoBook in this Noteworthy PhotoBooks, 2018 section. Limited edition of 500 copies. My recent Q&A with Shane Rocheleau is here. 

Rosalind Fox Solomon, Liberty Theater, MACK. Something of a marvel, another entry in this Post of a book that consists of a body of work decades in the making, this one is special. Culled from 400 Photographs taken in the 1970s, 80s and 90s, across the south, these 77 show a wide range of glimpses into the complex issues of race and racism, class and gender divisions that could be pivotal moments from 77 films that each stand on their own while provoking a world of feelings and reactions. Except comfort. The title speaks to a performance, and her website says the images are “poised between act and reenactment…” Now 88, Rosalind Fox Solomon, who like Diane Arbus, studied with Lisette Model in the 1970s, shares something of Ms. Arbus’ mystery and power in images that demand repeat viewing, here, in a tightly edited volume that quietly stuns as often as it shocks, aided by yet another powerful essay by Stanley Wolukau-Wanambwa, who’s first PhotoBook also appears on this list.

***Noteworthy First PhotoBooks***

–Shahrzad Darafsheh- Half-Light, Gnomic Book. Iranian Photographer Shahrzad Darafsheh was diagnosed with cancer at age 36. But? She hasn’t let it stop her creativity or her work! It seems to me that anyone who’s been through cancer, or knows someone who has, can relate to her new first PhotoBook, Half-Light. It’s, at once both intimately personal, and universal, a book that looks inwards and outwards at the same time. Designed to be read either in western style left to right, or right to left, the custom in Farsi, one time I went through it it felt like an out of body experience. Cancer changes your life- forever, and it also changes how you see life, forever. Here is a Photographic record of the early days of this very talented young Artist’s cancer experience, seeing the world anew and turning her lens on herself, and her surroundings with wondering eyes. Its 300 copies are far too few to reach the audience this book deserves, so don’t wait long. It’s somewhat miraculous that Gnomic’s Jason Koxvold somehow found this work and overcame all the layers of problems inherent in working with an Artist living in Iran to produce such a beautiful and important book.

Shahrzad Darafsheh’s Half-Light.

-Stanley Wolukau-Wanambwa – One Wall A Web. Stanley Wolukau-Wanambwa has been one of the most astute and urgent voices writing about Photography and PhotoBooks for some time now. His writing has appeared in a wide range of places, including in a number of PhotoBooks, like Jason Koxvold’s excellent Knives. With One Wall a Web the world gets to see his first collection of his Photographic work. Born in Uganda  and living here for a number of years, One Wall is a far ranging look at American life, culture and society with a focus on the black reality in this country in two sets of original Photographs surrounding a section of appropriated vintage archival Photographs. It’s so wide-ranging it even masterfully weaves Allen Ginsberg’s classic poem Howl in. It’s already clear to me that One Wall a Web is one of those books that define this moment, as his friend’s Shane Rocheleau’s does in its way. It’s a book people will be discussing, referring to and looking at for many years to come. As I write this, about 70 copies remain of the first edition.

 

Roma Publications co-founder Roger Willems holds a copy of One Wall a Web, by Stanley Wolukau-Wanambwa at Roma’s booth at the NYABF, September 22, 2018.

-Jo Ann Walters- Wood River Blue Pool, ITI Ithaca  Named after a river and a pool near her hometown of Alton, Illinois, a journey through its 120 pages it makes it quickly apparent that yes, still waters run deep. A book over 30 years in the making, it’s a veritable time capsule of people and places, seen with a strong and singular eye, here largely cast on women and girls around her hometown, and elsewhere from Minnestoa to Mississippi cry out for extended pondering- on the women and/or children depicted, their situations and surroundings, and the moment. Coincidentally, Ms. Walters also teaches at Purchase College on the same Photography faculty with Stanley Wolukau-Wanambwa. My thanks to Kris Graves for  making me aware of this book. He did so purely on the book’s exceptional merit as something I should see. Modestly, he did so without mentioning that he was once one of her students, which I found out later. Jo Ann Walters’ tree has many branches. Now? We finally get to sit under another one with wonder at her achievement. I’ve found it makes an interesting pairing with the following-

-Petra Collins- Coming of Age, Rizzoli. A minor sensation when it was released, causing first printing copies to instantly vaporize, surprising no one more than its publisher, Rizzoli, who scrambled to produce a second printing, which finally materialized after a few months absence. Coming of Age, (a perfect title in more ways than one), touched a nerve with its subject generation, and with the esteemed Artist, Marilyn Minter, who interviews Ms. Collins inside. It’s easy to see why. Petra Collins Photographs her subjects the way they would like to be seen, and shows sides of them and their lives the rest of us never see. While other Photographers have garnered more attention for more contrived work in this genre, Petra Collins is the one to watch, in my view.

-Rose Marie Cromwell, El Libro Supremo de la Suerte, TIS Books/LightWork. I lived in Miami and South Florida, where it’s impossible to escape the flavor and influence of nearby Cuba. Here’s, an amazing look at the real thing, shot over 8 years while the Artist lived in Havana. It’s a thunderbolt, filled with color, as  you’d expect, but it’s also full of a poignant intimacy that surprises. Another book with an instant buzz that saw copies flying out the door, and a long line for signed examples at TIS’ Booth at the NYABF. El Libro Supreme de la Suerte (The Supreme Book of Luck) supremely deserves it.

If you are able to pick only one book from that group? You are a better man or woman than I am.

PhotoBooks are all we sell! One wall of titles at Dashwood Books.

***NoteWorthy Photo Related Book without Photos***

In this “decisive moment,” the foreshortening got the better of my auto-focus.

-Henri Cartier-Bresson- Interviews and Conversations, 1951-98, Aperture. I picked up The Mind’s Eye, Cartier-Bresson’s writings on Photography and Photographers, which didn’t have the insights I was looking for. Interviews and Conversations does. On every single page. Essential. A reference book for the ages.

***NoteWorthy Reissues***

The New Arrivals wall at Printed Matter, presenters of the New York Art Book Fair. An amazing store that contains multitudes of worlds in the form of Artist’s books by umpteen thousand Artists and Writers. How do they know where all of them are? I never bother to try to find something- I just ask. Extra credit if you can spot the next book to appear on this list.

-Masahisa Fukase Ravens, MACK. (Pictured almost smack dab in the middle, above, in its grey slip case). Believe the hype. Shot in the aftermath of a divorce, this is an unforgettable masterpiece, one of the great achievements in PhotoBook history in my view. It says 2017 inside. I don’t care. I’m listing it here as a public service announcement. After being first published in 1986, it was out of print for the better part of 30 years! The word is copies are running low. Get it before it goes out of print. Again. I’m listing Ravens, also, to acknowledge MACK’s excellent series of reissues that has seen Alec Soth’s classic Sleeping By The Mississippi and Niagara, among a number of others reissued, making them affordable to students and Photography lovers, again, after long absences that has made them available only at very high prices on the rare book market. Bravo! The next selection is another one…

Paul Graham, center, with Lesley A. Martin of Aperture, left, discuss a shimmer of possibility at its re-release. AIPAD, April 13, 2018.

-Paul Graham, a shimmer of possibility, MACK. Though reissued once before, as a one volume paperback, MACK has finally released the book Paris Photo-Aperture gave their “The Best PhotoBook of the Last 15 Years” award to in 2012, in its original 12 volume format (which sold out in less than 3 months in 2012). A revolution when it was first released, its influenced countless books that have come since. Including a few on this list. Limited edition of 500 hand signed sets.

-Daido Moriyama: Record, Thames & Hudson, A selection from Nos 1-30, beginning in June 1972 of the magazine, Record, that the great Japanese Photographer continues to release to this very day. At age 80, he’s now up to No. 39. When I added them up, Numbers 1-30 would cost a thousand or so dollars, IF you could find them all. This beautiful selection from them sells for about 50.00, and is sure to bring many more eyes to the work of one of the most admired, and influential, living masters of Street Photography.

-Luigi Ghirri- It’s Beautiful Here, Isn’t It… Aperture. With 2008 1st Printings selling for over 300.00 per, my thanks to Aperture for issuing a 2nd printing this year otherwise I would have never seen it! Ghirri’s Kodachrome is the place to start exploring his work (especially in MACK’s gorgeous reissue, which seems to be disappearing), but this is a very nice selection of works from throughout his career. Intro by William Eggleston.  

Roy DeCarava & Langston Hughes- Sweet Flypaper of Life, First Print Press/David Zwirner Books. Roy DeCarava is one of the unsung masters of contemporary Photography, who is quietly undergoing a renaissance that’s seen a few of his books reissued at long last in honor of the Photographer’s 100th birthday in 2019. First published in 1955, it features 141 DeCarava Photographs chosen by Langston Hughes who then supplied an accompanying narrative. His aim, he said, “We have so many books about how bad life is. Maybe it’s time to have one showing how good it is.” It’s that, and more, as it shows life “Uptown” in the mid-1950s in a way unlike that seen in any other book. 

***NoteWorthy Catalog of the Year**

-Sally Mann- A Thousand Crossings. It’s going to be a while before another book coming along surpassing this as a one volume reference/summary/monograph of Ms. Mann’s work to date. Beautiful. Throughout.

-Saul Leiter- All About Saul Leiter– It came out in Japan last year, and has just been released here. I’d still recommend Early Color as the place to start exploring Saul Leiter, but this is an excellent second choice and provides more of a complete sense of the man’s work over his career. With all due respect to his black & white work- Saul Leiter is a supreme Photographic Artist with color and the effects of light, and that is the work of his I will always be drawn to, and there’s a lot of it in this beautiful volume. My look at the recent Saul Leiter: In My Room show and book is here.

-Luigi Ghirri- The Map and the Territory, MACK. Focused on his work from 1970s and 1980s this is a beautiful almost 400 page look at a visionary Photographer, who, was the only name Stephen Shore mentioned when I asked who he felt deserved more attention. He told me Luigi Ghirri was the Artist he used to recommend, before the internet did away with little known Artists. Which brings me to…

***NoteWorthy “Non-PhotoBook” of the Year/ Holiday gift of the Year***

The 3 Stereograph viewing stations, each containing 10 different stereo Photographs of New York, 1974, at the Stephen Shore Retrospective at MoMA, May 23, 2018.

–Stephen Shore, Stereographs, New York, 1974, Aperture. Hey, it counts- its got an ISBN number…and 30 Stereo Photographs! I don’t know how many other visitors to the Stephen Shore Retrospective at MoMA were thinking, “Wow. This is COOL!,” when they sat at one of the 3 stations, each containing 10 of Mr. Shore’s Stereographic Photographs. Well, I was. Now, you can have your own! Hurry. Aperture only produced 400 sets each containing a “Stephen Shore” signature model viewer (cool!) and all 30 of the works seen at MoMA (ditto). Each set includes a card hand signed by Mr. Shore. Don’t sleep on it. I hear they’re going fast. All of those who already own it that I’ve spoken with said they hoped more images would be made available. Hear, hear. My piece on the monumental Stephen Shore Retrospective at MoMA is here. 

Stephen Shore: Stereographs, New York, 1974, published by Aperture.

***PhotoBook Discovery of the Year (Regardless of Publication Date)***

-Lewis Baltz, WORKS, Steidl, 2010. WORKS is THE most extraordinary box set I have yet seen. Period.

When you look at it like this, it could have been called “MONUMENT.” Note- There are two editions of WORKS. Mine is the first edition, 2010. the later WORKS- Last Edition edition adds the subsequent Candlestick Point (2011) and Texts (2013), which they just lay on top of this box. Both of those books are available separately, so you can create your own Last Edition. Their Last Edition also comes with a booklet containing Lewis Baltz’ Last Interview, which, unfortunately, is not available elsewhere.

Since discovering WORKS, Lewis Baltz has become one of the few Artists who have effected the way I see the world, and one of even fewer to effect how I think about what I see. Mr. Baltz passed away in 2014 at 69 and this was a project he worked on when he, apparently, knew the end was coming. The result is that WORKS is the complete 10 volume edition of his Photography as the Artist wanted it to be seen. The care and attention to detail he brought to this edition, matched by Gerhard Steidl and his team, make it the definition of “definitive.” It houses the career work of an Artist who’s work expanded from the so-called “New Topographic” approach to Photography to including how the forces that control man’s uses of the land have extended into virtually every realm of human life. Inside, the entire journey can be taken in one place, where its continuity and interconnectedness can be fully appreciated as it can be nowhere else, in drop-dead beautiful quality printing. Lewis Baltz was an Artist who while producing Art based in what he saw around him created a body of work that, also, warns about where this was (and is) all heading. In my view, this makes him one of the most important Photographers of our time. Each of the 1,000 copies is hand signed by the Artist!

For those not wanting to make the investment in WORKS (currently 600.00 and up), there is the one volume Lewis Baltz– the catalog published in 2017 to accompany the first posthumous retrospective of Mr. Baltz’ work in Madrid, and so another entry for NoteWorthy Catalog, 2018. (It reached me in January, 2018.) The best one volume survey of his work is a great way to get the feel of both his accomplishment and the interconnectedness of the various series he produced, (and yes, they are interrelated). Even more than A Thousand Crossings, it’s very hard for me to see another book surpassing Lewis Baltz as a one volume monograph, especially given its particularly beautiful Steidl production and superb essays by Urs Stahel and, particularly, Artist Walead Beshty.

And so, in my book, there are no “winners,” no “losers” among Artists. ALL Artists who have created a PhotoBook (since that’s what we’re talking about here) this year are Winners in my book! CONGRATULATIONS! Seeing so many books and speaking with so many Artists & publishers has given me a real sense of how hard it is to produce a book today, particularly in this country.

For the rest of us? Get out there, look at some PhotoBooks and see what speaks to you. For me? I look forward to seeing what’s coming next. And? I will be looking for it…

11pm, East 17th Street @ Union Square. It can be a lonely road seeking PhotoBooks in the dead of night, which I actually was. But, wait! “Hey, man. Got any PhotoBooks there I should know about?”

*-Soundtrack for this Post is Impossible Year by Panic! at the Disco from Death of a Bachelor.

My previous pieces on Photography are here.

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  1. Both Ms. de Middel and Vivienne Sassen, mentioned earlier, have come under controversy for their work in, and about, Africa. ↩

A Conversation With Photographer Harry Gruyaert

Written by Kenn Sava. Photographs by Harry Gruyaert.

Harry Gruyaert is a mystery to me.

I wonder…HOW does he get such miraculous, beautifully atmospheric Photographs, over and over, again? It doesn’t matter what time of day,

Los Angeles, California, USA, 1981. Photo by Harry Gruyaert/Magnum Photos. I came across a print of this work in June and realized that I hadn’t done a deep dive into Harry Gruyaert’s work. Well? It’s summer. Into the pool!  Three months later, I’m still immersed in the sheer joy of looking. Click any Photo for full size.

or night it is.

Launderette. Town of Antwerp, Flanders Region, Belgium 1988. Photo by Harry Gruyaert/Magnum Photos.

What the weather is,

Ostende, Belgium, 1988. Photo by Harry Gruyaert/Magnum Photos.

or even what’s going on.

Commemoration of the Battle of Waterloo, 1981, Village in the Province of Brabant, Belgium. Photo By Harry Gruyaert/Magnum Photos.

And, he’s been doing it for going on 50 years now.

His Photographs will make you stop and wonder- What’s going on here?

Rue Royale, 1981. Brussels, Belgium. Photo by Harry Gruyaert/Magnum Photos.

Or, marvel at the almost magical combination of elements coming together in a split second of time,

Parade, 1988.Flanders region, Province of Brabant, Belgium. Photo by Harry Gruyaert/Magnum Photos.

any time,

Galway, Ireland, 1988. Photo by Harry Gruyaert/Magnum Photos.

any where.

National Communist party congress, Trivandrum, India, 1989. Photo by Harry Gruyaert/Magnum Photos.

But, the biggest mystery of all, for me, is WHY is he still so relatively little known in the USA?

His name is heard nowhere nearly as often as his fellow contemporary Masters of color Photography- William Eggleston, Saul Leiter, Stephen Shore, and the rest. As I write this, there are only TWO books of his work in print here (see BookMarks at the end). Yet, I find, his work has a richness and subtlety, those gorgeous colors he’s legendary for, all in the service of a mystery, like an untitled still from a movie (sorry, Cindy), that brings me back to have another look, again and again. His work can stand right alongside that of his peers, and it will hold its own alongside any of them. Even beyond contemporary Photography, Harry Gruyaert’s work, also, speaks to the lover of Painting in me. His is that rarest of work that touches some of the same nerves that Edward Hopper is, perhaps, most renowned for- the insular loneliness that defines modern life.

Covered market, Bairritz, France, 2000. Photo by Harry Gruyaert/Magnum Photos.

Born in Antwerp, Belgium in 1941, he joined Magnum Photos in 1981, as admittedly, and somewhat controversially, the first and only, non-PhotoJournalist in the legendary group. 37 years later, he’s still a member, and is it only a coincidence that the current roster may be the most diverse in its 71 year history? Still going strong, 2018 is turning out to be a big year for Harry. First, the Harry Gruyaert – Retrospective at FOMU Foto Museum in Antwerp, Belgium, from March 9th to June 9th, 2018, while the feature length documentary, Harry Gruyaert Photographer, premiered this summer. Meanwhile, this past Saturday, September 8th, saw the opening of his new show at Antwerp’s renowned Gallery Fifty One. The show is titled Roots, and features work Mr. Gruyaert created in his native Belgium, where his “roots” are.

I’m thrilled to say I had the privilege of speaking with Mr. Gruyaert in France after he just returned home from attending the opening of Roots, and in a far ranging interview, I was fortunate to ask him every question I could think of that I have yet to see asked of him thus far. What follows is not a blow by blow biography. It’s meant to fill in the gaps in what’s been written about Harry Gruyaert thus far. And so, it’s meant to intrigue, to inspire you to delve further into his long and rich career. I quickly discovered that he is not one to mince words. Hold on to your seats, and prepare to meet a living legend, who’s bursting with passion in his mid-70s. Ladies and gentlemen, my conversation with Harry Gruyaert on September 11th, 2018…

Before I could get a word out, he said…

Harry Gruyaert- I liked what you did on Saul Leiter, so…

Kenn Sava- Oh, you did? Thank you very much. It’s interesting…I notice there’s a couple of things you seem to have in common with Saul. Early on, his father, also, was adamantly against his becoming a Photographer, and eventually disinherited him. He was also really loved Pierre Bonnard, as I mentioned. I note that you are as well. Saul who was known for his color work, did most of his intimate work in black & white, as you have.

Pierre Bonnard, View of the Old Port, Saint-Tropez, 1911, oil on canvas, seen at The Met.

Pierre Bonnard is not somebody who comes up all that often, I’ve had him come up twice with such great Photographers recently. What is it about Bonnard that particularly speaks to you?

Pierre Bonnard, The House of Misia Sert, 1906, Oil on canvas.

HG- It’s extremely sensual, you know. It’s amazing. His cropping is really amazing. I really like so much the feeling he has towards his life, and his wife. It’s quite amazing.

Town of Jaisalmer, State of Rajasthan, India, 1976. Photo by Harry Gruyaert/Magnum Photos. I couldn’t resist pairing this with Bonnard’s House above, without any input from Mr. Gruyaert. The more I look at them, the more I find coincidentally in common. Down to the animals just inside each door.

A funny thing about Saul Leiter. When I arrived in Paris in April, 1962, I went to Elle Magazine, which is a fashion magazine, and I showed my work to the art director, Peter Knapp, and he said, “Oh, you are the little Saul Leiter. “ I had no idea who Saul Leiter was. It took me 40 years to realize who was Saul Leiter, and strangely enough in the last Paris Photo, my work was hanging next to his in the booth of Gallery Fifty One, run by Roger Szmulewicz, and  believe it or not, who walks by as I was standing in the booth ? Peter Knapp ! It’s amazing. So I asked him, “Why did you tell me that all those years ago?” He said, “It’s because of the way you work with color, obviously.” I really find it exciting  when things like that happen. 

KS- So, his work had no influence on you. You weren’t aware of it.

HG- No. No. I found out much later when his first Steidl book came out and when I saw his show at the Foundation Cartier-Bresson in Paris, which was only a couple of years ago.

KS- This has been a big year for you with the FOMU Retrospective, the Documentary Harry Gruyaert Photographer, and now the Gallery Fifty One show, Roots, I wanted to congratulate you on all of that.

Harry Gruyaert, in the red slacks facing the camera, at the opening for his new show, Harry Gruyaert: Roots, September 8th. Photo by Gallery Fifty One..

HG- Thank you. 

KS- I came across your work in the Magnum Square Print sale and realized I hadn’t done a deep dive into your career. Part of the reason is there aren’t a lot of books of your work in print here. The Retrospective, with the red cover, and East/West being two. It seems that you’re slowly reissuing your books, right?

HG- Sure. You know I accumulated so much work. And the good thing about making books now, is that you have much more control than before. The quality of printing is much better and my new books look better than the ones I published before.

Moscow, Russia, USSR, 1989. From East in the 2 volume set, East/West. Photo by Harry Gruyaert/Magnum Photos.

KS- East/West is a fascinating book in that regard. I’m interested in why you chose to group the two books together. I know you’ve said many times you’re not a journalist, but looking at this work now from so many years later, it almost has a journalistic feel to it- A commentary about the materialism in America and the fall of the USSR at the time you were taking the pictures. Was that any part of the intention in issuing them together now in a slipcase? 

Freemont Street. Las Vegas, Nevada, USA, 1982. From West in East/West. Photo by Harry Gruyaert/Magnum Photos.

HG- Yes, that was part of the idea of publishing these two series of pictures together. Don’t forget, I’m a documentary Photographer, and in that sense I feel quite close to somebody like Cartier Bresson whose work is always about a particular place at a particular time. We have both travelled a lot and taken pictures in many different countries and share that same openness to different world and different cultures. Though I am a great admirer of american photographers, I sometimes feel that the work they have done in the states is more interesting than their work in other countries. I don’t know why that is. 

KS- You were involved with Henri Cartier-Bresson and I read the story of him asking you to color his prints. For everyone who wasn’t able to know him, what would you like them to know about him? Is there any one thing that particularly stands out?

Henri Cartier-Bresson, Hyeres, France, 1932

HG- (Laughs)…Oh boy. I was very lucky to have known him. He was very provocative. He was full of energy. Very provocative, and at the same time, he wanted to be a zen buddhist. (Laughs) Very interesting person. Complex. It’s such a lesson that he gave up Photography and went back to his old passion, Painting and Drawing, when he felt he had nothing more to say through photography. It was not on the level of what he did before, but it’s such a lesson. Then, he’d come and ask you, “What do you think of my Painting or Drawing?” He started all over again, questionning himself instead of relying on his reputation.

Shaded streets of the medina (old district), Near “Jemma el Fna” square, Marrakech, Morocco, 1986. Photo by Harry Gruyaert/Magnum Photos.

KS- That’s quite a compliment to you that he’d ask you to Paint his prints. 

HG- It all started when he came to see my first show about Morocco at the Delpire Galerie in Paris. My C. prints were far from perfect and he started making comments. He took bits of paper or little objects and put them on my prints to explain to me what he meant.Amazing. Then he sent me his book about Andre Lhote, who was his teacher in Painting and  called me up two weeks later, and said «  I have a suggestion to make.I will send a couple of my prints and I will send you a big box of pastels and you can try and color them.” I said, “Henri, it’s nice to think about it, but I’m not a Painter. I can’t even make a drawing.”

He had a problem with color photography. He felt it was only used for commercial reasons and was not really interested. And I think he really didn’t like the fact that many Magnum Photographers moved to color because that’s what magazines were asking for when they were better doing black & white. But some became very good magazine photographers and were very successful. 

In 2017, 174 Harry Gruyaert Photographs were on view in 11 stations of the Paris Metro at the invitation of RATP, the Paris public transport operator. Seen here are two images from his beach series, “Rivages,” (shores, or “Edges” as it’s called here), images that speak of the insignificance of man in the scope of nature, the Artist has said, while at the same time, showing a sense of humor, particularly on the left. Seen here in a still from the Harry Gruyaert Photographer Documentary.

KS- Was there a single moment or an event that got you first interested in Photography?

HG-Different things…I wanted to travel. I went to an exhibition in ’58 at the World’s Fair in Brussels. I saw the different pavilions : America, Russia, Japan, India… I was looking at the globe which I had at home. And I thought, I want to go to all these places. And I was also interested in fashion. I loved  Fashion magazines which were much better at the time, like Harper’s Bazar and Vogue, and photographers like Avedon and Irving Penn. And there were all these beautiful girls…

KS- So, it came out of your desire to travel.

Still from Harry Gruyaert Photographer.

HG- To travel, to discover things…I was always interested in Paintings. I always went to Museums. 

I never even thought about doing anything else. I was Director of Photography for a couple of television Film. I had a big admiration for the directors of photography who worked with  Italians film directors like Antonioni, I through they were really fantastic. I could have made a profession out of that, but I wanted to do my own stuff, my own Films and it meant working with a large crew of people and you needed a lot of money. The good thing about photography is that you can work on your own. If the digital small cameras of the quality we have now had existed at the time, things might have been different.

KS- When I look at your work I see elements of both- they seem like stills from a movie but then when it comes to printing, it’s some of the same techniques that come to bear that Painters would use, so you’ve almost married the two. Do you see it that way at all?

HG- Yeah, sure. The funny thing is that the directors I know in Paris, I’m friendly with some of them, have told me they’ve been inspired by some of my photographs…So it’s wonderful that it works both ways. 

Edward Hopper, New York Movie, 1939, Oil on canvas.

KS- I’ve read a couple of your interviews over time talking about Edward Hopper. I think in one interview you said you didn’t really look at his work early on, but you can kind of see what people say when they talk about the similarities in the loneliness and isolation in your work. Since it didn’t come from Hopper, that sense that is in some of your work, where do you think that came from? Those isolated figures, that sense of loneliness and isolation that occurs in your work? 

Trans-Europe-Express, 1981. Belgium. Photo by Harry Gruyaert/Magnum Photos.

HG- I don’t really know. It’s not the person that interests me most. It’s the person in its environment. To me, all the elements are important. I don’t have any particular intention. It’s just what I see.

Bay of the Somme River in the town of Fort Mahon, Picardie, France, 1991. Photo by Harry Gruyaert/Magnum Photos.

I think humans have such a great idea about ourselves but nature is so much more powerful.

The Flemish House, by George Simenon. Cover Photo by Harry Gruyaert/Magnum Photos.

Talking about loneliness in the city…A funny thing that came up. Do you know (Georges) Simenon, the Belgian Writer of detective stories ? Inspector Maigret is the name of the detective. They translated them into english and they had trouble finding covers for them. Peter Galassi said to them, “Look at Harry’s work. I think you can find something there.” So, the guy from the publishing company sent me some lay-outs and I didn’t think it could work because the cover is vertical and 90% of my work is horizontal. But, the way he cropped it, it was really quite interesting and I asked him to print the full frame image on the back cover. 

The full frame source Photo for the cover. Bar, Antwerp, Belgium. Photo by Harry Gruyaert/Magnum Photos.

Then, Penguin Books in London picked it up. Believe it or not, we’ve done 65 covers.

KS- You’ve done 65 covers for them?

HG- Yes. Just from my archive. My archives are not only Magnum, only a small percentage is Magnum. So, she comes to Paris and looks through mainly my old work. When I did my show at FOMU at Antwerp, there was a big wall with all the covers of the books and small pictures of the full frame.

The strange thing is Simenon is Belgian. He’s from Liege. I’m from Antwerp. I met his son and he showed me some Photographs that Simenon did himself, and you find this kind of thing of a small figure in an urban landscape. With a certain lonelieness. Which you find often in my work. It’s really quite funny.

KS- You’ve spoken about a number of the places you’ve worked- Moscow, Belgium, California & the American West. How do you feel about New York?

It’s a small world. New York City. USA, 1996. The 23rd Street Subway station, across from the Met Life Building. It’s immediately recognizable to me because it’s in my neighborhood. Photo by Harry Gruyaert/Magnum Photos.

HG- Extremely exciting. I’ve done lots of work in New York. The first time I came to New York was in ’68. I was friends with people like Gordon Matta-Clark. All those Artists were important to me, in terms of the energy, in terms of what they were doing. 

National Road 1,near Mechelen, Antwerp Province, Belgium, 1988

Pop Art taught me to look at a certain banality with interest, a visual interest and a certain sense of humor.That changed the nature of the work I was doing in Belgium at the time.  In the beginning it was only in black & white. For two years, I didn’t see any color there. But Pop Art taught me to look at things in a different way and then I started to work in color.

So for two years there I only shot black & white.

Near Bruges, Belgium, 1975. Photo by Harry Gruyaert/Magnum Photos.

KS- I don’t really consider Robert Rauschenberg a Pop Artist but he was obviously very important at that time, and since. Has he had any influence on you at all?

Robert Rauschenberg, Black Market, 1961, seen at MoMA’s Robert Rauschenberg: Among Friends show, 2017.

HG- Oh, I love his work. I mean the personality… the openness, trying other things. There’s more sensuality in Rauschenberg. It’s more fun as well. 

KS- In looking at someone like Robert Rauschenberg, and there’s others, too, who were Painters, but also were Photographers, it seems to me that their Photography doesn’t get any attention at all. Have you seen Rauschenberg’s Photography, and if so, what do you think of it?

Robert Rauschenberg, Anchor, from Studies for Chinese Summerhall, China, 1983. Photo by Graphicstudio, USF.

HG- Oh, sure. It’s interesting. Sometimes it takes time to discover things. So many Photographers are being discovered…look at Saul Leiter.

Excerpts from T.V. Shots, Photos taken between 1969 and the early 1970s. From the publisher- “Gruyaert’s break from television wasn’t all peaceful, though: his first serious body of work contained photographs of distorted TV images. By following events such as the 1972 Munich Olympics from home, he created a distressed parody of the current-affairs photo-story. The work caused controversy, both for its disrespectful assault on the culture of television and for its radical challenge (both formally and in terms of content) to the conventions of press photography. Gruyaert views it as the closest thing to journalistic photography he has ever made.” Photos by Harry Gruyaert/Magnum Photos, as seen in the 2007 Steidl book of the same name.

Imitation is the sincerest form of flattery, someone said. This is NOT by Harry Gruyaert. NYC Subway ad for Maniac, September, 2018

KS- Speaking of that…another Photographer who is also a Painter, is William Eggleston. You were able to see the legendary 1976 show at MoMA, Photographs by William Eggleston, and you spoke about being impressed with his dye-transfer prints. I’m wondering- What did you think of his work when you first saw it?

HG- It was amazing to see that, especially the quality of the printing. The first book is one of his best and one of my favorites. 

KS- So you think William Eggleston’s Guide would be among his best work?

HG- Sure. Yes. Definitely. There are other good things too. But the problem now is that publishers want to publish too many books. Some are good, some are not so good. Banality can be interesting, but sometimes, it’s just banal!

KS- In the Gallery Fifty One show you have 41 works in black & white and 19 works in color, though they are large. I notice there seems to be more surrealism in the black & white works, where it’s more subtle in the color work. Does that seem to be the case for you?

Belgium, Hofstade, Carnival (Superimposition), 1975, is included in the Gallery Fifty One show. Photo by Harry Gruyaert/Magnum

HG- Black and white and color are two different approaches. I took pictures of my daughters in black & white because I felt I got closer to them. Shooting in black and white I feel less preoccupied by the way people dress, the background or things that could distract me. I concentrate on the human quality of the person. Color is more complex. With color, the color really has to be the main thing…the most important thing…

A normally very busy street deserted by citizens for the first meal of the day. During the Ramadan. Cairo. Egypt, 1987. Photo by Harry Gruyaert/Magnum Photos.

KS- It’s said that Roots was, at one point, basically a “farewell” to Beligum, after your difficulties with your father…

HG- That was not so much the problem as the lack of a cultural environment.

“Midi” train station district, Brussels, Belgium, 1981, is included in the Gallery Fifty One show. Photo by Harry Gruyaert/Magnum Photos.

KS- But, it seems that you’ve made peace with Belgium. Have you done work in Belgium since Roots? 

HG- I do all the time. At the show I gave Roger (Gallery Fifty One’s Director) about 15 prints I did very recently, to show whoever’s interested that things change. Nothing stays the same. The colors are different now. The mentality’s different. Belgium is more like the rest of Europe, I guess…the same clothing…the same advertisements. It’s actually much more colorful, but in a more capitalistic driven way. It’s more fashionable somehow, and It’s more alike. Before, in Holland and Belgium, which are very near to each other, things were very different in the color aspect and all that. And now, things have become much more the same, like in the States.

KS- So you were saying that some of the American Photographers influenced you more than the Europeans. Who were those American Photographers who influenced you?

HG- (Lee) Friedlander, definitely. (Irving) Penn, (Richard) Avedon. Helen Levitt is wonderful, sure, Bruce Davidson and others…

Stephen Shore, Merced River, Yosemite Park, CA, 1974, Seen at the Stephen Shore Retrospective at MoMA, 2018

When I look at Stephen Shore’s work, I have the feeling that I am traveling with him. It’s really important in Photography to get to the person and have the feeling of being with him. That’s really important. Stephen Shore, but other Photographers as well. It’s physical. It’s the experience they have that appeals to me. It’s a physical thing. That’s why I don’t care much for conceptual work. It comes from the brain. For me, it has to come more from the stomach. It’s physical. It’s experience, which someone has at a given time, and through the experience I get contact with the person who did it.

A visitor spends quality time with Rembrandt(s). At The Met, February, 2015.

To me, Art is…When I look at Rembrandt, I’m with Rembrandt. When I look at Bonnard, I’m with Bonnard. When I look at conceptual work, I’m with the brain of somebody. If they have to write a lot of stuff before we’re able to understand what it’s all about, I’m not interested in the exhibition. I have to first look at the work and it should mean something. It has to appeal to me visually. 

KS- Have there been any Directors or Painters that have spoken to you more recently?  Anyone that’s come along since Antonioni, Magritte? Anything that’s more contemporary? Anything that you’ve really been impressed with?

HG- Recently? I’m a movie fan. I go to movies all the time. In the past I went to the cinema every day. I learned more from movies than anywhere else…movies and paintings…

About Antonioni. What’s really interesting…In 2009, 10 Magnum Photographers had a show at the Cinematheque Francaise in Paris, exploring  the relationship between still Photography and Film. My part was to show how much I was inspired by Film, and mainly, by Antonioni. So, I did a projection, which lasts about 25 minutes, with extracts of his movies – l’Avventura, The Eclipse and the Red Desert –  and some of my Photographs next to them.

Province de Brabant, Belgium, 1981. One of my personal favorite Harry Gruyaert Photos reminds me of the scene in Antonioni’s La Notte when Jeanne Moreau sits in the car in the rain. Photo by Harry Gruyaert/Magnum Photos.

There are three Antonioni Films I was limited to1. So, I was able to use certain things. …. But, when they saw the thing produced, the review were very happy about it.

KS- I would love to see that. You have a new book, Rivages about to come out, (to be released in the USA as Edges later this year). I’ve read that you’ve been enjoying using today’s technology to make better prints. Are you also involved with the selecting of the images for the books and the way they are sequenced, or does somebody else do that?

HG- Completely. It’s team work. I’m the first person, obviously. I’ve been working with the same people the past 4 or 5 books. It’s like teamwork. 

The English edition of Rivages (Edges) is coming out at the end of September. The French edition is earlier. I’m very happy with them. The printing and everything. 

KS- So, you’re selecting the images for the books. 

HG- Sure. There’s some discussions, obviously…yeah, teamwork.

KS- Are you working on another version of Morocco?

HG- No plans for the moment, but everything is sold out. 

I want to do a book about street photography in the different cities I’ve been to. You know like New York, Brussels, or whatever And also a book on India and Egypt, a book about my industrial work, about airport, about my daughters… So many things… I also want to redo It’s not about cars, which was first published with  Roger Smulewicz of Gallery 512, but in a larger and more complete version. 

KS- Was Luigi Ghirri an influence?

HG- I discovered him later. I like some of his work…I think lots of his …He’s more of an intellectual. He has a real concept, I think. And I’m kind of… I think more in terms of color and I don’t think that’s his main interest. We have a very different approach

KS- There’s a couple of images that kind of remind me of yours. The shot of Versailles from the distance…

HG- Those are the ones I prefer. 

Still from the Harry Gruyaert Photographer Documentary showing the Artist on the corner of West 42nd Street and 7th Avenue.

KS- What did you think of the final documentary, Harry Gruyert Photographer? Did you have a chance to see it?

HG- Sure.

KS- What was your reaction? Were you pleased with it?

HG- I’m pleased with it. It’s not my Film. Well, it’s the Film of the director. It became very personal. You know, the thing is my father had about 25 hours of family films. The director knew that and he used a lot of that in the Film, comparing what my father did and what I did, and talking about my upbringing, so it became a very family kind of Film, which is fine, I think it’s a bit over done…it’s his Film.

Harry Gruyaert in action in Times Square, NYC. He has spoken about how taking Photos is like a “dance” for him, which is obvious, here, in this shot from the Harry Gruyaert Photographer Documentary website. While other Photographers bring full Hollywood movie making gear to bear in making their Photos look “cinematic.” Mr. Gruyaert does it the old fashioned way, as you can see.

KS- Are there any plans to release it in America? Are we going to get to see it over here?

HG- Who knows. It’s just the beginning. 

Gallery Fifty One, Antwerp, Belgium.

KS- You just returned form Gallery Fifty One and the opening of your show in Antwerp. How did you feel about the show? How did the installation look to you?

HG- We tried something I had never done before. We set two screens, one on top of the other, very close. On one we showed black and white photographs and on the other color photographs.

Installation view of Roots at Gallery Fifty One showing dual video monitors. Photo by Gallery Fifty One.

Sometimes the relationship between them worked, sometimes it did not. But it was an an interesting experience. There’s much more black and white stuff (included in the show) than I have ever showed. The color photographs are the ones published in the new edition of Roots.

The Gruyaert family at dinner in a peaceful moment. Harry’s father, left, worked for the AGFA Film Company. His feelings about his son becoming a Photographer have been written about elsewhere. Still from Harry Gruyaert Photographer.

KS- Did your father ever come to accept you being a Photographer? Did he come to appreciate your work at all?

HG- Oh yes. He became very proud. (laughs) Once I was vice-president of Magnum, that was it for him. I think it was more about my position at Magnum than about my work.. 

KS- No one’s ever mentioned that anywhere. They always talk about how adamant he was against your becoming a Photographer. They never mention that he did finally come to accept it. Unlike Saul Leiter, who’s father disinherited him. So, at least, that’s good to hear.

HG- No, no no. My father was very proud at the end. He was. Whenever he would tell others how great his son was, it was special for him.

Our conversation ended there. A few days later in an email, Harry added this-

“I am just a photographer. If people look at my work and think it’s art, I am happy about it. But it is not for me to decide.”

Count me in that group of “people.”

While the mystery in Harry Gruyaert’s work will enthrall me for years to come, I hope the mystery surrounding his lack of recognition here will be history in the near future. After all, I’d rather leave the mystery writing to Simenon.

BookMarks– Morocco is Harry Gruyaert’s most renowned book, winning the 1975 Kodak Prize. As he said, it’s been out of print since the last French edition, Maroc, published by Textuel in 2013. At the moment, two books are in print in the USA, Harry Gruyaert, with a red cover, a retrospective, published by Thames & Hudson in 2015, is likely to remain the most comprehensive overview of his work for the foreseeable future, particularly because, as he said, it has the Artist’s direct involvement.

It’s gorgeous, in my view, and the place to start exploring Harry Gruyaert’s work and achievement among books currently in print in the USA.

Harry Gruyaert: East/West, a two volume set in a slipcase, contains East, Photos taken in Moscow near the very end of the USSR in 1989, and West, Photos taken in the American West (including Los Angeles and Las Vegas) in 1981, was published in 2017 by Thames & Hudson. It’s a fascinating look at both places decades ago, and intentionally, or not, provides a powerful visual contrast between capitalism and communism.

East/West

Equally compelling is how much Mr. Gruyaert’s color palette changes between the two bodies of work.

Just released by Editions Xavier Barral this past May (2018) is the new edition of Harry Gruyaert – Roots, a book “about” the Artist’s relationship with his native country, Belgium. It adds over 20 additional Photos to the 2012 edition, which quickly went out of print. As the Artist said in the conversation, he finds today’s printing far superior to what he was able to achieve in the past, making this the edition to get.

Coming soon will be Edges (or Rivages in French), another new edition of an out of print beautiful collection. In visual poetry, Mr. Gruyaert explores the relationship of man to nature, the land to the sea, and the earth to the sky in 144 pages. Soon to be published by Thames & Hudson.

While I recommend starting with the red Retrospective, all of these books are excellent and recommended.

Cover image cropped from an original by Harry Gruyaert/Magnum Photos.

And, for lovers of detective novels, Harry’s images appear as covers on 65 Simenon novels published by, and available in the USA through, Penguin Books.

*- Soundtrack for this Post is “I Should Watch T.V.” by David Byrne & St. Vincent from “Love This Giant.” Lyrics, here. Video, here-

My thanks to Harry Gruyaert and Gallery Fifty One.

My prior Posts on Photography may be found here.

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  1. In 2009 the Cinematheque Francaise presented Images to Come, an exhibition exploring Magnum photographer’s take on the relationship between cinema and photograhy. The works are displayed alongside still from L’Avventura, The Eclipse and the Red Desert. ↩
  2. Harry Gruyaert: It’s Not About Cars, published by Gallery Fifty One in 2017. ↩

Cig Harvey- The Miracle of A Moment

In 1952, Henri Cartier-Bresson famously gave us the “decisive moment1.” It’s a term that’s been variously interpreted in the intervening 65+ years by countless Photographers, (Cartier-Bresson, himself, re-interprets it, here). Magnum Photographer Stuart Franklin sums it up saying, “all the elements come together: timing, composition, geometry and the situation as I wanted to remember it.” I’ll go with that until I understand it better. As seen in her latest show, You an Orchestra You a Bomb, at Robert Mann, Cig Harvey gives us such “decisive moments,” and a few that almost seem “miraculous.”

Sky Lantern, 2017, Chromogenic dye coupler print. Photo- Cig Harvey/Robert Mann Gallery. Click any Photo for full size.

“I hear babies cry
I watch them grow
They’ll learn much more
Than I’ll ever know.”*

 We live our lives never knowing when a moment is going to be “miraculous,” though, if you think about it- EVERY moment is a miracle. How many do we have out of the millennia of existence? As we go through our lives seeing each moment with the “camera” of our eyes and brain, these moments get recorded as memories, which you are free to hold on to and revisit them as you will. You can’t see someone else’s memories, or tap into their “live stream” (Yet. Thank goodness. Well, as far as I know.), unless that person is a Photographer who captures the moment and then prints the results. Luckily, Cig Harvey is one such Photographer, and beautiful moments abound in this show.

A first walk through of Cig Harvey’s show leaves the impression you’ve walked into a dream. It’s the most personal of dreams, especially since the subject of choice in a number of her Photos is her young daughter, Scout, seen in Sky Lantern, above. A muse for the Artist, who, in turn is creating a unique love letter to her daughter the likes of which few children of Artists have received. But, the images are much more.

Each moment, fixed with chemicals on paper, hangs in the air suspended in the ether of being, now given a “life” of it’s own in physical form, ripe with poignancy. In the act of capturing the moment, printing it and hanging it, the moment becomes lasting for as long as you choose to look at it. Ahhh….if only life were like this!

Alas, life, of course, is made up with all kinds of moments. Good, bad, neither good nor bad, some that are portentous, some who’s import is unknown…until later. Looking further, the work has the “deceptive simplicity” seen in her earlier books. Then, I realized it was another case of what Jerry L. Thompson wrote about Walker Evans2, “…he worked hard to make pictures that show deceptively simple facts.” In Cig Harvey’s case, she said that does not mean using Photoshop. Along with these Photos, Ms. Harvey’s writing is brought to the fore, in the book for this show, and on the walls of the gallery where they provide insight and counterpoint.

Both word and image show Cig Harvey is still in touch with being a girl, being a young woman, while being a mother. She’s also well aware of what’s going on in the world, and right around her. Though her work features the gorgeous moments in life, this body of it was born out of another type of moment.

“I see skies of blue
And clouds of white
The bright blessed day
The dark sacred night
And I think to myself
What a wonderful world.”*

Blizzard on Main Street, 2017, Chromogenic dye coupler print. Photo- Cig Harvey/Robert Mann Gallery.

Cig’s decisive moment happened on Aug 15, 2015 at 7:40. “Somebody drove into me. I was absolutely fine, physically,” she said on January 27th. “The ideas of what could have been sort of played on my mind.” Her car was totaled but, miraculously, only her outlook has been bent/refracted.

Cig Harvey’s Artist Talk, January 27th.

I wasn’t aware of what had occurred in 2015 when I first looked at this work. Being a “survivor,” myself, I was drawn to the celebration of the moment I see in her work. In this show, Cig Harvey’s love for life is to be seen everywhere you turn, and that comes across more than anything else. Surviving teaches, I believe, not taking life for granted any longer. Even if you think you didn’t. You realize how lucky you are to have a beautiful moment…a good friend…love…a healthy daughter…life. You feel like a different person. And, you don’t see the world the same way any more. In her Artist’s Talk at Robert Mann on January 27th, she said much the same thing as the genesis for this body of work.

Sparks, Lake Meguntacook, Maine, 2016, Chromogenic dye coupler print. Photo- Cig Harvey/Robert Mann Gallery

This was printed on the wall under Sparks,  which Ms. Harvey singled out as being one influenced by her accident.

While they are certainly a celebration of youth, beauty, being a girl, being a mom…being alive. The body of work she calls You an Orchestra You a Bomb, may, also, be Cig Harvey’s way of holding the “other” kind of moments- the “bad” ones, at bay. Fill your life with the beautiful moments and memories of them and how they made you feel. Yes, moments can bring beauty, or they can bring disaster. Hold on to the good ones, for as long as possible.

A Photograph helps.

*- Soundtrack for this Post is “What A Wonderful World,’ performed by Louis Armstrong, written by Bob Thiele, George Weiss and George Douglas. Speaking of beautiful moments, Louis performs it here in 1967-

My Posts on Photography may be found here.

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  1. What’s the “decisive moment?” In his classic book of the same name, Henri Cartier-Bresson says, “To take photographs means to recognize—simultaneously and within a fraction of a second—both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one’s head, one’s eye, and one’s heart on the same axis.” Cartier-Bresson was a founder of Magnum Photos, and you can read more from them on this ambiguous term, here. ↩
  2. in Walker Evans At Work, 1982, P.10 ↩

“Only God Sees This”

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Written & Photographed by Kenn Sava (*- unless otherwise credited).

As I continue to explore Contemporary Photography this year, I find I am increasingly drawn to the field of “PhotoJournalism.”

Is this the Early Magnum: On & In New York Show, or the Black Hole of Photography that has swallowed me whole in 2017. Or, both? Click to feel engulfed, like I do.

Or, what was called “PhotoJournalism.” As far as I can discern it was a term meaning using pictures to tell a story, report a story, or support a story. Was? Or is? It’s a term that I struggle to define today, in the dual print & cyber world. As I explore the field, I find that some Photographers have an issue with the term, too, while others still use it. Since I am someone who loathes “boxes” applied to work in any creative field of endeavor, or the creators, themselves, I’m going to use it (with those caveats) only for the sake of clarity, though I prefer to refer to the creators of this work as Photographers. For a number of reasons, I wonder if the term is on the verge of outliving it’s usefulness, though professionals, no doubt, may differ.

At a time when these Photographers are under seemingly ever-increasing threat, on many fronts, showing their work is one of the best means there is of combating that, and helping them because it brings this work more and more into the light and before more eyes. In making the rounds of shows and in doing my research, I’ve been surprised by the amount of Photographs I’ve seen documenting current and recent conflicts and crisis around the world- in gallery shows, at AIPAD, and in PhotoBooks. In most of these instances, they’re seen on their own, with almost no supporting text, save for the ever-popular small info card. This also makes me wonder- Without the “Journalism” (i.e. a text), is it still “PhotoJournalism?”

Speaking, without words. Dennis Stock of Magnum Photos, Audrey Hepburn during the filming of “Sabrina,” NYC, 1954. Standing there, it was hard for me not to think that she survived near-fatal starvation in Nazi Holland at the end of WW2, just 9 years before.

With all of that being said, I find I’m being drawn to “PhotoJournalism” for one overriding reason-

I believe these Photographers, especially those who work in what is called “Conflict Photography,” may well be the bravest creative people in the world today. To my mind, that gives them a leg up on being among the most compelling creators of our time. And, especially in these times, their work is critically, and increasingly, important. For all of us.

Robert Capa’s eight surviving photographs of Omaha Beach on D-Day (out of the 106 he’s said he took) were among the first works of what is called “Conflict Photography” to captivate me. Their story is tragic. I mean the story of his film being ruined, and only these precious few, now iconic, images surviving, is tragic. Yet, I’ve come to make peace with that, first, because there’s nothing to be done to change it, and second, because I’ve come to see them as symbolizing the larger experience- that not all of those incredibly brave fighting men who entered that living hell survived, either. They, and the ones that did survive, (though, with typical modesty, say otherwise in interviews), ARE Heroes, of what was the most important day of the 20th Century. That Mr. Capa lost his life almost exactly 10 years to the day after D-Day covering another battle in a far away land speaks to the dedication he had to his craft, and his life’s mission.

It truly was life and death to him. Every single time he stepped on to a battlefield- to do his job, “armed” with only a camera.

Giles Caron (APIS & Independent), 3 images from his Vietnam War Series, 1967. Mr. Caron was killed there 3 years later. Seen @ School Gallery, Paris, AIPAD Booth

But, before Robert Capa left us, he also left us Magnum Photos, which he was a co-founder of1, now the world’s leading Photo Agency. It’s a cooperative, an agency and an archive, owned by it’s Photographer-members. The list of past and present men and women who have been, or are, members is closer to staggering than impressive. Though of course, there are many Photographers who are not Magnum members who are doing/have done great and important work. Being as 2017 marks the 70th Anniversary of Magnum’s founding, I’m going to focus on Magnum Photographers, though begin with two “Independents,” the first, Giles Caron, above, who died in Cambodia at age 30 (I will note “Independent/Other Association” next to their names here).

Tony Vaccaro, center rear, seen with a wall of his masterpieces to his right. From the far right corner- Georgia O’Keefe (2), Picasso, “The Violinist” directly behind his head, Hitler’s Eagles Nest (top, in front of him) and a fallen GI (bottom), at Monroe Gallery’s AIPAD Booth, in March.

I can’t go any further without mentioning, again, having recently been in the presence of the the second, the “Dean” of Photographers, 94 years young Tony Vaccaro, at Morgan Gallery’s booth at AIPAD, because it still feels like I imagined it. Like Mr. Capa, Mr. Vaccaro is today known for many other genres of photographs, especially portraits, besides his classic World War II photos, (which are the subject of a PBS Documentary), examples of all lined the wall behind him that day. Looking at these, like looking at Robert Capa’s “other” work (after putting down “Robert Capa: This is War!”), is fascinating because it provides insights into the man and, once in a while, his life. Sometimes it’s hard to remember these Photographers, who shoot War and Conflicts, are real people, with real lives.

Flesh and blood human beings.

Smile! Werner Bischof’s Magnum Photos Office, 1953. See that Magnum bottle of champagne on the left? That’s the inspiration for the name “Magnum.”

The recently ended show, “Early Magnum: On & In New York,” produced by Magnum Photos at the National Arts Club focuses on this “other” side, as we get to see Photos of NYC by Elliott Erwitt, Bruce Davidson, Cornell Capa, Erich Hartmann, Dennis Stock, Eve Arnold, Werner Bischof and others, along with candid early shots of the Magnum Offices in action.

(Another) Installation View of Early Magnum: On & In New York in the Grand Gallery of the National Arts Club, on Gramercy Park.

A good many of these are famous. As a group, they show the contribution Magnum has made to our culture in preserving memories and time, as well as to the Art of Photography by having so many terrifically gifted, and amazingly versatile Photographers as members. Their work is eternally of it’s time, timely for us now, and a good deal of it is still ahead of our time. There are pleasures, familiar and unexpected, throughout this well conceived and arranged selection, and it does a fine job of celebrating this part of Magnum’s achievement.

Dennis Stock’s haunting portrait of James Dean on Broadway in Times Square, in 1955, a block from Lee Strasberg’s Actors Studio, taken just months before his death that September.

While it was utterly fascinating looking at well-known images like this, or Sammy Davis in his hotel in 1959,

Cornell Capa (Robert’s brother), JFK in NYC, 1960, a month before the election.

or JFK campaigning in an open vehicle (poignant now, on it’s own) in an NYC Motorcade a month before the 1960 election by Robert Capa’s brother, Cornell Capa, it was images of people mostly forgotten to history that held me longest, like a group of shots from Bruce Davidson’s Brooklyn Gang, in 1959, which captures the lives of a Brooklyn gang so brilliantly that the images still look ahead of their time to me, like the second one below.

Styling. Bruce Davidson, center in 1959, with 2 members of the Brooklyn Gang.

Bruce Davidson, Brooklyn Gang on the Boardwalk in Coney Island, 1959, the gent on the right is also on the right in the previous shot.

I previously mentioned asking Mr. Davidson, who I revere as the living Master of NYC Photography2, how he was able to survive shooting “Subway” in the dark days of 1980. He said “Because I looked like a photographer.” Looking at these “Brooklyn Gang” classics, taken in yet another environment not welcoming of outsiders, I again marveled he survived. I mean, just look at how he’s dressed! Part of the answer, and his disavowal of the term “PhotoJournalism” for his work, can be found here-

While all of this shows that “other” side I spoke of earlier very well, meanwhile, on the “Conflict Photography” front, I wondered many other things looking through another PhotoBook, a new one, about conflict, revolution, it’s effects and aftermaths. It’s “Discordia” by Moises Saman, a Spanish-American PhotoJournalist who’s been a full member of Magnum Photos since 2014, and consists of Photographs he took over four years of the “Arab Spring,” from 2011 to 2014, edited, and with collages, by Daria Birang.

Moises Saman, Discordia, 2016, Cover

It’s cover shows a silhouetted figure who’s, possibly, just thrown something?, or has just been hit by something? Either way, he seems to be off his feet, as if picked up out of the world and transported somewhere else, and lost in the world he’s collaged in over part of a static-covered TV Screen. It’s not an image you’d see in the “real world,” and it’s not an image you’d see on TV. Right off, “Discordia,” the name of the Roman goddess of strife, seems to be announcing it is walking the line between document and Art. After my first pursuing of  this self-published book, I asked myself…

How does someone become Moises Saman? Who, in addition to being a Magnum member, is a world-renowned Photographer, who’s work appears regularly in the New York Times, Time, National Geographic, among other places, and is a winner of a 2016 “Picture of the Year” Award. (“Discordia,” won the 2016 Anamorphosis Prize.) Do you just get on a plane with a camera, go somewhere where there’s a battle or revolution taking place and start taking photos? And, being someone who almost broke both of his knees a few weeks ago photographing on the High Line (I’ll wait for the laughter to subside…)…How do you learn to survive?”

And, if you do?- “What drives you to keep going back?”

All of these questions come to mind before the key question at the heart of the matter of this book- How do you get such amazing photos in the midst of utter chaos, bloodshed, even death going on all around you?

When I saw this one, of nothing less than a bomb maker actually making a bomb in Syria, I was struck by a thought-

Moises Saman, Magnum Photos “A bombmaker working for the rebels mixes chemicals in a makeshift bomb factory in a rebel-held district, Aleppo, Syria, 2013.” Quotes denote Magnum Photos caption.

“Who sees this?”

Yes, it raises questions that are beyond the scope of this site. So, I am not going to get into any of the “bigger” questions regarding the individuals photographed here. Hopefully, each viewer assesses the work for themselves and, after all, in a free society, that’s one of the key freedoms we have- to be able to do so. Another is the right to see such images. And that’s why whatever you call them- “PhotoJournalists,” “Conflict Photographers,” or “Documentary Photographers” (which Mr. Saman refers to himself as),  who’s jobs, and very existence, seems to get harder with every passing day, are so important to all of us. It will be up to the future to decide if it, like every thing else being created today, is “Art,” or not. For now, work that speaks (at least to me), and has importance, in my life, and the world, makes it “important” now. For myself, looking at this shot- the angle Mr. Saman chose, that light actually enters this room, and shines on the floor, the bomb maker himself- what he’s wearing and how he looks, what else is in the room. It’s familiar. It’s foreign. It’s everyday- (you want to think- “Ok. He’s preparing to paint the walls.”)..and it’s…not. It’s unimaginable. It’s impossible. And then? It’s unforgettable.

Or this? Moises Saman, Magnum Photos, “Seif al-Islam Qaddafi, son of Colonel Muammar Qaddafi photographed shortly before the fall of Tripoli, Libya, 2011.” Quotes denote Magnum Photos caption.

In looking through “Discordia,” the emphasis often seems so be on the posture and/or expressions of those depicted, which can be seen even on the cover. This brings a powerful human element to everts that often takes place in rubble, or completely or partially destroyed structures. We see leaders feeling the weight of their dilemma, fighters seen in the act, and, their families in the throes of dealing with their deaths, after. We see business people trying to maintain some semblance of “normal life,” traveling to and fro, one climbing over a wall with his pretzels to sell on his back, another navigating ever changing roads.

You think your commute is hard? Moises Saman, Magnum Photos, “Pretzel seller near Tahrir Square, Cairo, Egypt, January, 2013.” Quotes denote Magnum Photos caption.

These serve to remind that conflicts affect everyone in these towns, cities, or countries. Though “Discordia” documents 4 years of work, capturing the “Arab Spring” as it spread through the Middle East, there are no chapters separating one part of it from another. The effect is to show the basic nature of these revolts- their commonality. The struggle against and the resulting push back, before, during and after, and, most of all, the effect on lives. For those of us far far away from these lands we see the face of struggle, of revolution being born and fighting for life against the powers that be that want to remain being the powers that be. From afar, it seems as “alien” as the cover image. Mr. Saman appears to show us both sides, and while the names, places and background info he provides in the back of the book shed light on the photos, they’re still incredibly powerful without knowing any of this- just as pictures of people in a revolution, human beings in unimaginable circumstances, and in the process, presenting them this way “separates” the images from “traditional” PhotoJournalism,” especially since the only words to be found in the book are in a section in the back3. At least for me, this is a book about human beings, and their underlying humanity- the pain and suffering, and the struggle to overcome injustice, and the inevitable results of their actions, or the actions of others, in the midst of unbelievable situations and environments, that looks like another world.

Moises Saman, Magnum Photos, “Young protesters take shelter during clashes near Tahrir Square. Cairo, Egypt, January, 2013.” Quotes denote Magnum Photos caption.

Right from the silhouette on the cover, I was taken by the postures and expressions of those in the Photographs, which becomes a running theme in them, and, for me, their essence. Julian Stallabras, author of a book on Contemporary Art, Art, Incorporated, that I highly recommend, said, “Discordia shows the hopes, idealism and strength of rebellion against long-established dictatorial regimes, and also- with great clarity- the price paid for it.” Indeed. But what’s left (largely) unsaid, and not shown, is the price Mr. Saman paid. Only at the end of the plates, in a small section of text do we learn that the helicopter crash in 2014 that he shows us the aftermath of (below) was one that he, himself, survived! He makes no mention of whether he was injured, or not, and only shows us the reactions of others, that injured, or not, he kept on capturing!

Mosies Saman, Magnum Photos, “A boy whose mother was onboard the helicopter cries as he does not know the fate of his mother. (She survived.) An Iraqi Air Force helicopter on a rescue mission in the Sinjar Mountains crashed shortly after takeoff. Onboard the helicopter were dozens of Yazidi refugees stranded in the mountain for days unable to reach the safety of Kurdish-controlled areas of northern Iraq. Sinjar Mountains, Iraq, 2014.” Quotes denote Magnum Photos caption.

If that doesn’t tell you all you need to know about his commitment, nothing does.

Meanwhile, I also hear an undercurrent of talk about this work being “difficult” to look at, let alone buy or hang in homes. Is it because it’s a Photograph and not a Drawing or Painting? When I hear this, I’m reminded that many found Jackson Pollock’s work “ugly,” and while a good many, no doubt, still do, many more now accept it. With the number of excellent shows and PhotoBooks around, this may be changing for these Photos, too. Slowly. Renowned Photographer turned Photo collector, Harriett Logan, recently spoke to Magnum about building a collection of these works, which she started (I think astutely) only four years ago. It includes work by Robert Capa, Dorothea Lange and Matt Black, among others. She, through the Incite Project, supported the publication of “Discordia,” in return for prints by Mr. Saman. She said, “Like the tank man in Tiananmen Square, history stops at those still images, and the photographers that took those pictures did an incredible job of essentially isolating, for all of us, those moments of history.” Those isolated moments adds up. Ashley Gilbertson’s (of VII Photo Agency) “Refugees Disembark on Lesvos, Greece” at Monroe Gallery at AIPAD, provided “another chapter” to the story Ai Weiwei so movingly told in his show, Laundromat, about the Refugee Camps, which I wrote about recently. And there are others.

Ashley Gilbertson’s Refugees Disembark on Lesvos, Greece, 2015, at Monroe Gallery, AIPAD.

The always excellent Jack Shainman Gallery recently had a compelling show of Richard Mosse, and Sebastiao Salgado, (both former Magnum members), perhaps the best known “Concerned Photographer” alive, just had a show of his extraordinary Photographs of the 1991 Kuwaiti Oil Fires at the Tagore Gallery,

The legendary Sebastiao Salgado at the opening for his Kuwait 1991 show at  Tagore Gallery Show, March 30, 2017.

Sebastiao Salgado, Kuwait, 1991, at Tagore Gallery.

and, the Howard Greenberg Gallery had a show of the work of Magnum’s Alex Majoli, who’s chiarascuro  lighting has the power of a modern Caravaggio, with all the drama and theater of Grand Opera, without music or words, which included this-

Alex Majoli, of Magnum Photos, faced these Sao Paolo, Brazilian, Police in 2014, with just his camera, and took this Photograph. Seen at Howard Greenberg.

This past week, at the beautiful new show by the Artist Robert Longo, the Contemporary Master of Charcoal Drawing, I had a deja vu moment-

The Artist Robert Longo DREW this work, Untitled (Riot Cops), 2016, possibly inspired by a Photograph, in the safety of his studio, brought back memories of Mr. Majoli’s, above.

Or, two-

Robert Longo Untitled (Raft at Sea), 2016-17, (both works at Metro Pictures), totals 24 FEET wide. These are Drawings!

His show, “The Destroyer Cycle,” at Metro Pictures as I write this, consists of 12 powerful, typically brilliantly executed, black and white charcoal drawings. The press release states- “For each exhibited work, Longo has developed a technique that reflects the medium of the drawing’s source image.” Specifically about the one above, it says it is- “A composite image partially sourced from the cover of a Doctors Without Borders publication, the drawing depicts refugees on a raft amidst the vast, turbulent Mediterranean Sea.” Curious to learn more, I reached out to Doctors Without Borders/Médecins Sans Frontières (MSF, as they are known), who kindly provided me with what may be one of those “images partially sourced?” In any event, it’s an amazing photo in it’s own right, taken by Will Rose (of  Rose & Sjolander)-

Will Rose, of Rose + Sjolander, December 18, 2015

MSF provided this information about it-

“A Medecins Sans Frontiers (MSF) and Greenpeace rescue team responded to a sinking rigid inflatable boat carrying 45 Afghan refugees crossing from Turkey to the north shore of Lesvos, Greece. On arrival to the scene, the poor quality inflatable was taking on water. The people on board were having problems with the outboard motor as it was poorly fitted and could not be restarted. It was soon obvious to the Greenpeace/MSF crew that the sponsons were rapidly losing air and the lives of the people were in immediate danger…The women and children were grabbed first and transferred into two Greenpeace/MSF boats that were flanking both sides of the sinking boat. All people were successfully rescued and transferred to MolyvosHarbour in Greece, where response teams were on standby.” 

Snapping a camera’s shutter freezes a moment in time for all time. Part of what remains from December 18, 2015, beyond the memories of those who lived it, is Mr. Rose’s Photo, and the ongoing effect, and possibly inspiration, it has on all who see it. With shutters being snapped billions of times each day, it becomes easy to be overwhelmed by the number of images before us. Billions of people also draw, but very few of those wind up speaking to people over hundreds of years. Time will judge the lasting import, if any, of everything created today. That it has importance to us living now is undeniable, and what matters most, it seems to me.

Robert Longo’s amazing drawings are, rightly, in many of the world’s great Museums, including MoMA, the Guggenheim, and Whitney Museums4. Alex Majoli or Moises Saman are not in any of them (as far as I know.)

Why not?

The movements of NYC Museum Acquisition staffs remains a mystery to me, so I can’t answer that. I do feel that they will be there one day. In the meantime, their work needs to be seen by us, the people they risk their lives for to show us what they see. We miss it at our own peril.

While “PhotoJournalism” strikes me as a term in flux, Magnum co-founder, and legendary Photographer, Henri Cartier-Bresson said, “Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.” That might be the “other” definition I was looking for.

“Before you board that plane
I owe you a bottle of cold champagne
Yeah, cold champagne
I don’t know if we have coffee cups
Or plastic cups, I think Sonny has the cups-
Tonite we’re drinking straight from the bottle.”*

Happy 70th, Magnum Photos!

*- Soundtrack for this Post is “Champagne,” by Lin-Manuel Miranda from “In The Heights,” 2008. Publisher not known to me.

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  1. Along with Henri Cartier-Bresson, David “Chim” Seymour, George Rodger, William Vandivert, Rita Vandivert, and Maria Eisner. ↩
  2. He spent FOUR YEARS shooting in Central Park in creating his classic book of the same name. ↩
  3. You can see other work by Mr. Saman, accompanied by text, i.e. more traditional “PhotoJournalism” here. ↩
  4. The Met owns a print of his, though I recall seeing a series of his works on view there in the Great Hall during their “Pictures Generation show in 2009, so they may own others. ↩