Tina Brown

Lunch at the Magazine Lifetime Achievement Awards where Tina Brown was inducted into the Hall of Fame. I was there having worked for Tina at Vanity Fair and the New Yorker and have always been a huge fan. The world of magazines seems so much duller without her. She has also always been a champion of photography, which is how we got together.

Our greatest coup was the famous 1985 Vanity Fair cover of the Reagans dancing - a cover credited (by others) as saving Vanity Fair when the sharks were circling and advertisers were scarce. It gave the magazine credibility and buzz and went on to become one of the most famous magazine covers as well as a cultural touchstone. So here's the inside story....

At my previous job as picture editor of the London Sunday Times Magazine, I had become friendly with Michael Evans - a talented photojournalist who became the chief White House photographer for Ronald Reagan. I had put together a special issue on Michael's most intimate White House pictures that got picked up around the world. So two years later when Tina came up with idea of a story about how the Reagans loved to dance my connections got us 60 seconds with the first couple as they left their private quarters en route to a formal White House dinner. I chose Harry Benson as the photographer because there's no-one better in a sticky situation. Tina was there to report the story.

I knew the Reagans were friends of Frank Sinatra and so the night before the shoot, I made a tape of Sinatra singing "Nancy with the Laughing Face" and smuggled a Walkman and a miniature set of speakers into Harry Benson's bag. The pirate sound system made it through security and when the Reagans stopped in front of Benson's backdrop I hit play. The Secret Service looked stunned but dared not interrupt as Ron and Nancy spontaneously broke into dance for the whole song (cover!) and ended with a heartfelt smooch (double page spread!).

It was the kind of collaboration that makes magazine work so exciting. Or as Tina said in her speech, "Sometimes you have to be lucky, and sometimes you have to be prepared to be lucky!"

Sandmen

It never occurred to me how prevalent the subject (or backdrop) of sand is in photography until I was riffling through Christies catalog for their February 20th New York sale of photographs. There was sand everywhere! The above photograph by Wynn Bullock (estimated at $3,000 - $5,000) is of course a reference to the justly more celebrated Edward Weston image (below) which even printed posthumously is estimated at $7,000 - $9,000. There are sand pictures by Ansel Adams, Harry Callahan, Robert Frank, Michael Kenna, Herbert Matter, Anna Mendieta, the Westons - Edward and Brett, and Gary Winogrand. (I'm disqualifying Lucien Clergue because anyone who makes a living photographing women on the beach with wet sand up their bum does not deserve to be in this particular hall of fame.)



Anyway ... I happen to own several of Weston's "Nude on the Dunes" pictures (very dry sand) and as well as being some of my favorite pictures, they hang in the hallway between my bedroom and my childrens' rooms. I'm very careful about what art gets hung in my own home but these pictures are so brilliantly conceived and the figure so integrated in to the ground of sand that neither my children or any of the many children who have passed through our house on play-dates have ever given it a second thought. I remember a house featured in a magazine not so long ago where the most provocative, graphic, and X-rated art was hanging on the wall and the couple's young children were pictured romping around in decorative magazine fashion, and I thought there has to be some kind of line, doesn't there?


Anyway back to sand. Aside from Weston's dunes one of the greatest sand pictures is the Australian photographer Max Dupain's "The Sunbaker" (above) taken in 1937, the year after Weston's pictures.


Last in the round-up of sand pictures is Richard Ehrlich (above and below) whose extraordinary pictures taken in 2003 of the Namibian ghost town of Kolmanskop I just recently discovered. In brief, Kolmanskop sprang up in 1908 after diamonds were discovered in the desert sand. By 1920 Kolmanskop was a booming mining town with 300 German expatriates and their families - a hospital, gymnasium, casino, bowling alley, and power station. Houses were built and decorated in beautiful colors with great artistic sensibility, presumably to offset the lonely existence in the middle of the desert. By 1928, however, the diamond deposits dried up and the town was abandoned to the elements. The skeletal remains of the houses are now left to sand and time, with every room constantly shifting and re-emerging as the wind shifts. Wow - talk about earth art!

Fish Tales

It won't be my usual practice to post runway shots, but every time I see pictures from Jean-Paul Gaultier’s collections they seem as much art as fashion. In particular the amazing mermaid outfit (above) from last week’s Spring 2008 collection gave me a real jolt! Adding to the theatrics of the show, when the euphoniously named model Coco Rocha first appeared on the runway, she was in full mermaid tail and walking on two coral crutches! She then unzipped her fin and undulated down the catwalk, her bustier recalling the famous cone bra Gaultier originally created for Madonna (for whom he still designs).

With the exception of the intentional outrageousness of this costume, the rest of the collection looked beautiful, wearable, and unlike the valentine song - quite photographable. When people complain about how fashion photography is in the doldrums (a very common complaint) perhaps some of the fault lies in the lack of photogenic-ness of many of today’s clothes.

This is never something Gaultier could be accused of. Having now passed through the “bad boy” phase he was invariably called out for in the early Madonna era – he now stands as the heir apparent to Yves St. Laurent in terms of his position in French culture. In addition to his own label, he is now also the creative director of Hermes, but he still likes to have fun as his own website amply demonstrates if you care to fish around!

Average Pictures

Life is not fair. For over a decade Chicago based artist Jason Salavon has been experimenting with over-layering and averaging images to come up with composites that explore iconic american typologies. Kids posing with a department store Santa Claus, high-school yearbook portraits, pictures of homes for sale, playboy centerfolds. The photographs are intellectually provocative, and visually engaging, but for some reason Salavon's work has never made it into the red hot center of contemporary art. It's too bad because they deserve to be.

Here are some of works. Above, the first of his "Every Playboy Centerfold, The Decades" from 2002. The series presents the mean average of every Playboy centerfold by decade from the 1960s to the 1990s. Below you'll find the rest of the series - the 1970s, 1980s, and 1990s.




Two years after Salavon's"Playboy" pictures were made, Idris Khan graduated from England's Royal College of Art and began to make it big-time with his own layered multiple exposures of re-photographed images. I'm not saying Khan was even aware of Salavon, and I'm actually a big fan of Khan's, but the right school, the right gallery, and the right timing can make all the difference.

Salavon's 1999 picture below from the series "Homes for Sale" takes 124 photographs of homes for sale in the 5 Boroughs of New York and digitally combines them using both the mean and the median. (Compare with some of Khan's pictures from the link above.)

"The Class of 1967" and "The Class of 1988" (below) are amalgamations of all the graduating men and women in both Salavon and his mother's Fort Worth Texas high school classes. Half dream, half memory, you can almost recognize the individual before they slip back into the ur-portrait of their particular generation.

Weekend Video - Dance Round-Up

This blog has been moving so fast, please excuse me if I re-cap....

I started blogging in November and traffic was pretty constant through Christmas with viewers in the low hundreds. Then this month thanks to The Sartorialist, kottke.org, boingboing, and a few others, things exploded and I now get well over 10,000 visits a day! In my first post I said the blog was "about a love of photography and the pleasure I get from finding good pictures" and that's exactly what it is. Additionally every weekend for a change of pace (and to take some of the pressure off) I highlight what I hope is a particularly interesting video.

Last night I was talking to Trey Laird, owner of Laird + Partners, and one of the brightest advertising men in New York. He created the great Audrey Hepburn ad (above) for the GAP and is regular reader of the blog. However, he had missed the "Dance With Me" video by Nouvelle Vague - one of my absolute favorites. So I thought it was worthwhile re-posting that along with another previous post that could be the inspiration for an ad - the Bob Fosse dance set to the theme music of "Cool Hand Luke".

I hope you'll find the archives worth digging into. (To make it easier I just added titles to all the prior "Weekend Videos.) And I promise lots of fresh material coming up. I'd love to hear any comments on what you like, don't, and would like to see more of. Oh, and please pass it on. For everyone's convenience this blog can also now be accessed via theyearinpictures.net

Have a great weekend!


"Dance With Me" by Nouvelle Vague.



"Cool Hand Luke" choreographed by Bob Fosse

Sent from my i-phone

Seen on 10th Avenue and 21st Street, NYC.

The Library of Congress @ Flickr

The Library of Congress is conducting a pilot project placing three thousand photographs on flickr. (Above: Jack Delano’s Going to Town on Saturday Afternoon, Greene Co., Ga. 1941.) The project is intentionally beginning modestly, in order for the Library to learn in which direction(s) to focus. As the repository of over 14 million prints this is understandable!

For now there are selections from two collections – color work from the FSA project (the depression era record of rural America) and the Bain collection (a turn of the century news service).

As someone who has spent many years lovingly doing picture research, going through all 173 pages (18 images per page) perfectly replicates the experience of being at The Library of Congress. It starts out excitedy, and then settles in to work as the search for good images becomes tedious. Your eyes start to ache. You begin to despair. Then you find a gem of a picture and your spirits soar! It’s armchair creativity but curating is nonetheless a creative act if not a genetic predisposition (or a pathology).

I’ve selected a few of the pictures from the flickr site that stood out for me, but for those interested in going deeper, the Library of Congress has it’s own separate site with about a million images.
Happy hunting!

Grand Grocery Co., Lincoln, Neb. 1942. John Vachon.

Tule Lake Internment Camp. 1944. Russell Lee.

Rural school girl. San Augustine County, Texas. 1943. John Vachon.

Wheat. PA. 1943. John Collier.

Jack Whinery and his family, Pie Town, New Mexico. 1940. Russell Lee.

Shulman's market. Washington, D.C.. 1942. Louise Roskam.

Backstage at the "girlie" show. State Fair, Rutland, VT. 1941. Jack Delano.

Backstage at the "girlie" show. State Fair, Rutland, VT. 1941. Jack Delano.

Train at sunset. New Mexico. 1941. Jack Delano.

Party Pix

A few snaps from last night's Sartorialist opening. 600 people, 8 cases of champagne, 5 cases of Pellegrino. It was an incredible evening with lines stretching around the block (see below) and people waiting incredibly patiently to come in and circulate around the gallery. A thank you to everyone who showed up and a hope that any who missed it will get a chance to see the show before it closes at the end of February.

Presenting: The Sartorialist

Tonight marks the opening of The Sartorialist’s exhibition at Danziger Projects. (6 – 8 pm. 521 West 26th Street.) All are welcome.

The idea for the show began when I landed on The Sartorialist’s blog for the first time this past July and was wowed by the quality of his pictures. Here was a highly accomplished photographer with a uniquely personal point of view taking pictures digitally and then posting them on his blog. There was no connection to the art world evident – but I felt that here was the first real fine art photographer of the digital age.

I e-mailed The Sartorialist - a.k.a Scott Schuman – and we began the process which 6 months later has resulted in the opening of his show. The process involved meeting (we hit it off immediately), establishing that his files would hold up to gallery standards (no problem), looking at all his work (easy because it’s all posted), figuring out what the prints should look like (what size, what paper they should be printed on), what kind of installation (single hung, double hung), prices and editions, and most importantly – expectations. As we were both taking a step into the unknown, I wanted Scott to know that I completely stood behind the work, but it was possible that people would not be able to make the leap from appreciating the work online to appreciating it in a gallery. The new (and especially the unconnected to the system) is always risky.

When the word of the show first made it out to the internet several months ago, the response was immediate and broad with comments falling into two camps – either congratulatory: “Well deserved, Sart.” or snarky: “Who does he think he is selling his pictures in a gallery for $1,200?”. There were quite a few of the latter. (However, this is an incredibly low price in today's art market.)

We hung the show last week and I have to say that to me it looks perfect. At the last moment we switched to non-reflective, u.v. filtering, museum plexiglass, and the results are worth every penny of the $240 extra per frame the plexi costs! The pictures really glow on the wall without the distraction of reflection. And the response has been unbelievable. We let people in early once the show was hung and collectors with no knowledge of The Sartorialist have literally walked in off the street and bought pictures. Seasoned collectors have bought groups. With only ten prints being released of each image two have already sold half their editions! Museums are interested. New projects are brewing.

When I put on a show I try to write a press release that best conveys both information and what I feel about the work. To see what I wrote along with many of the images in the show you can go to the Danziger Projects website.

The pleasures of a doing a show are creation and collaboration. This one has had it in spades!

Air McElroy

Lilly McElroy likes to throw herself around. At men, onto her bed, through the air. A performative photographer and video artist, McElroy seems to have a lot of fun making refreshingly spontaneous pictures. I asked her to explain the procedure behind her photographs and this is what she sent me:

"I started the project by placing an ad on Craig's list looking for men who would meet me at bars blind date style and let me literally throw myself at them. This worked fairly well, but limited the # of photos I could take. Now , I go to bars with a friend/photographer and approach men who are physically larger than I am. I ask them if I can literally throw myself at them. If they say yes, I have myself photographed doing it and buy them a drink afterwards. If it seems like they want to hang out, I'll have a drink as well. Sometimes we talk about the project and sometimes we just chat. I don't have a specific set up for the photos. I just want them to look as much like snap shots or party pics as possible."

Of course there are layers of meaning behind the physical comedy, but McElroy knows how to capture our interest and keep our attention. There are lots of other good series on her website which I'd recommend checking out.

Weekend Video - The Grammys

With so many award shows being cancelled I thought I'd pull out some highlights from last year's Grammy Awards for anyone feeling award deprived. The first - Gnarls Barkley's live version of "Crazy" - made my hair stand on end with it's strangely slowed down tempo, and I realized for the first time why the song was such a hit. (I'm still not sure what the airline pilot outfits mean.) But this version of "Crazy" made it seem like the signal song of the year.

The Corinne Bailey Rae/John Legend/John Mayer medley is nothing more than a look at three original and ascendant performers. As in photography, no matter how well traveled the road may be, fresh talent always finds a way.

Surfing the Web

I first met Tom Adler 12 years ago when he came into my gallery carrying the dummy of his first picture book "1936 - 1942. San Onofre to Point Dune. Photographs by Don James". We agreed to do a show and have become fast friends and collaborators ever since. The picture below is a Don James from the show. (Don James was 16 years old in 1936 when he borrowed his father's camera to record what were the very beginnings of surf culture in California.)


Tom has continued to produce important and revelatory photo books on surfing and been hired by companies from Polo to Roxy to brighten up their visuals. Last summer we did a follow-up show "Rediscovered Archives and Graphic Works" based on Tom's remarkable eye for combining and contrasting different images. See two examples below and more on the link above.



His latest books, "Surf Contest" and "Ron Church: California to Hawaii 1960 to 1965" bring the work of Ron Church back into the limelight after a long period of neglect.




Most recently, Tom was brought in to revise the look of swell.com - an online store and catalog selling surfing style clothes and accessories, and the results are just amazing. The catalogs are (deceptively) simple but visually refreshing, and almost every click on swell.com brings you to a picture that transcends the gee-whiz poster type of big wave photograph because of the subtly artful aspect of each image. Examples of some of the images and layouts below. Good web design is hard to find, but Adler shows both the importance of photography and the endless wave of possibilities. (Excuse the pun.)





Finally, the limited edition poster, below, which Tom created for our first exhibition now sells for up to $500! (swell.com has an authorized reprint for $29.95.)

Stormy Weather

Extreme weather is not a category of photography we think much about in the fine art world of New York City, but it has its fans, publishers, and practitioners just like any other genre. Top amongst these is probably Jim Reed, a 56 year old former writer and film-maker who moved from Los Angeles to Wichita, Kansas, 16 years ago in order to be near the biggest hurricanes and tornadoes in the country.

Abrams have recently published a book of his best images titled "Storm Chaser" and for an avowed lover of sky pictures these are quite something! Sublime and luminescent, the photographs have an almost religious quality. They're Ansel Adams on acid! So it's not altogether surprising to find a Christian theme running through Reed's writing as well as an endorsement from evangelist leader Pat Robertson. To balance things out politically though, there's an unabashed warning about global warming from Reed that would make Al Gore proud.

The Lost Sitting

I was intrigued by the picture above, although I've never been a huge fan of Alison Jackson's work. I find her faux paparazzi shots more one-liners than art. To see what I mean you can go to the M+B gallery website for images from her current Los Angeles show.

Unfortunately, the JFK and Marilyn images that I thought presaged some subtler new work turned out to be some of Jackson's earliest work, but with their echo of Mary Alpern's "Dirty Windows" series and their convincing recreation of a likely event, it's an instructive look at the road not taken.


Whatever quality these pictures have, however, pales next to the
capture of real life. As I was getting ready to post the above, I
came across the picture of JFK and Jackie (below) from Elliott
Erwitt's continually surprising new book, "Unseen".

Weekend Video - Once

If you haven't seen "Once", the incredible low-budget indie film about an Irish busker trying to get his life and career back on track, you are probably sick of people telling you to see it. But it's even better than its proselytizers can convey, with great music, great performances, and a subtle story that over and over again seems both true to life and dramatically satisfying. It's now been released on DVD so there are
NO EXCUSES!

Letter from L.A.

A brief trip to Los Angeles for meetings at The Getty, LACMA, and to discuss the Diana Vreeland film project with Sony Pictures. My visit also coincided with Photo LA now in it's 17th year.

First stop was the Getty where they currently have three photography shows up - Graciela Iturbide, Andre Kertesz, and The Nude. The first two didn't do much for me, but the nudes were lively and there was one terrific Manuel Alvarez Bravo picture from 1938 with an interesting caption about how the artist had hired one model to pose for him for an entire year. Talk about a year in pictures! I will try to get a j-peg, but as I was stopped from taking pictures by a vigilant guard, the picture below is the best I could do.


Meanwhile at The Getty I ran into none other than Sally Mann, who had just opened a show of her extreme close-up portraits of her children at Gagosian in Beverly Hills. It might not be the best space to show work, but the pictures have lost none of their power since they were first shown in New York a year ago. (Surprisingly for Gagosian, the gallery assistant behind the front desk was exceptionally friendly in a most un-New York way.)



I particularly liked this picture of Virginia, who we don't see much of these days.

Then it was on to Photo LA from which I've included just a few highlights. While these look like imitation Adam Fuss, they were actually quite beautiful photographs (not photograms) of colored water by the Vietnamese photographer Han Nguyen. At Joseph Bellows.

Julius Schulman's architectural pictures of Los Angeles were much in evidence. This unusual color shot courtesy CraIg Krull.


With Richard Prince ascendant, several dealers had rare Richard Prince books and portfolios. The conceptual gag here is that Prince signs all the photos to himself and then re-photographs the "finished" work. From Harper's Books

At Charles Hartman Fine Art, a striking new Scott Peterman taken in Cairo.

A Gary Winogrand taken at the Beverly Hilton in 1964. From Katrina Doerner

Ed Ruscha in 1970 by Jerry McMillan

And finally, from the Magnum booth, an unusual Alec Soth featuring Brigitte Bardot taken in Paris last year.

The Westerns

It looks like it’s going to be Katy Grannan month - with simultaneous shows at Fraenkel, Greenberg Van Doren, and Salon 94. The accolades I presume will come her way will be well deserved for these are some of the strangest and most powerful pictures to come along for a while.

One of the four original Yale girls in the famous 1999 "Another Girl, Another Planet" show, Grannan’s work has revolved around soliciting willing subjects for her psychologically intense constructed portraits. Aside from the technical expertise and tactile sense of the body Grannan brings to each picture, her work has always played with the tension between her own theatricality and the depth of revelation of her subjects.

Grannan has now moved her operation west where referrals led her to Gail and Dale (two middle-aged transsexuals and best friends) and Nicole, a woman clearly on the verge of something very disturbing. It’s Diane Arbus meets Sweeney Todd - a forceful and disturbing vision of a world where the roles people play cover up layers of once-repressed but now exploding emotion.

HIM

The British seem to have a thing about tweaking the establishment with a combination of art and humor. There's Banksy, Damien Hirst (who certainly seems like a prankster to me), and now HIM - a life sized waxwork of art collector Charles Saatchi by Robert McHarg III.

Saatchi's influence on the art world is legendary due to his reputation for making and breaking artists' careers through his buying and selling habits. In response McHarg created a life-size sculpture which he dressed up in 101 different outfits and photographed for a book just published by Trolley. As you can see it's a droll run across the visual iconography of contemporary art and photography executed in deadpan style. As McHarg points out, "It’s the biggest action figure I’ll ever own, it's all about the artist collecting the collector, a David and Goliath battle over power and punch lines."

Weekend Video - Jazz On A Summer Day

Bert Stern has been caught in Marilyn Monroe "Last Sitting" mode for so long it's easy to forget what a talented photographer and film-maker he was and is. His film "Jazz on a Summer's Day" covers the 1958 Newport Jazz Festival in startling Kodachrome color and with amazing photo-cinematographic compositions. The audience shots are a master class in how cutaways can invigorate rather than distract, and the multiple cameras and sharp edits never make the wrong move. In this clip Dinah Washington gives a swinging performance of "All of Me", but marvel at how Stern introduces Washington with just a close-up of the bopping jeweled bow of her dress!

The Year in Pictures

Given my obvious interest in other people's choices for "The Year in Pictures", I scoured the web from major news sites to obscure blogs to see other selections of the year's "best" photographs, but by and large it was a fairly predictable assortment. One picture kept cropping up, however, and I was surprised I hadn't seen it before. It was this picture by John Moore of a woman at Arlington National Cemetery mourning her fiance who was killed in Iraq.

With the web's instant access to information it was possible to go from pure visceral reaction to the image to knowing quite a lot about the photographer, the subject, the history of its publication, and the inevitable controversy about how "true" or manipulated the image was. (A less effective shot taken by Moore from a different angle shows a more crowded cemetery.) But to cut a long story short, it's a great and totally valid image - and rare in its neutrality. I guess if so inclined you could read it as a tribute to courageous sacrifice as opposed to an indictment of the folly of war. However what makes it so powerful and unusual is the sensuality of the mourning figure (something we don't usually associate with pictures of grief today although this has certainly been part of the language of paintings) intersecting the relentless geometry of receding headstones.

Moore, it turns out, is a Getty photographer based in Pakistan of all places, who returned briefly to the States so his wife could give birth to their child in the U.S. He gives an interesting account of how he came to take the picture on Getty's own blog.

Another striking picture that looks like a still from a Coppola or Scorcese film was taken by Denver photographer Ahmad Terry after police shot and killed a gunman in the State Capitol. Before shooting on his regular camera, Terry shot the scene on his cellphone so that his paper, The Rocky Mountain News, could post it on their website.

Lastly, this picture by Stephanie Sinclair which appeared in The New York Times Magazine in a story on Afghani child brides, some like the one pictured here as young as 11 years old. Like all the photographs above, it's the subject, combined with the many formal aspects of the picture, and the originality of the image that make each one so memorable.