PhotoEphemera

Found this Robert Frank interview recently on the web. It was recorded January 22, 2009, and of course the bulk of the conversation is about The Americans. But he also touches on Pull My Daisy, CS Blues and bits of this and that.

Now: can someone tell me what he's referring to when he says, "Which was a mistake, just a mistake."



Robert Frank : interview
Uploaded by JeudePaume. - Arts and animation videos.

One thing fun about doing this blog was researching various aspects of the items I was posting. I no longer have the time to do that. I do have quite a bit of ephemera scanned and ready to post though.

I'll continue posting but any background information that I include will have to be from memory.

Which means most of it will be wrong.

Ferdinando Scianna is a Magnum photographer.


Ad from The New Yorker, February 20 - 27, 1995, with an ad photographed by Scianna.



Ad from Vanity Fair, February, 2001, with a background photograph by Scianna.


About ten years ago or so, there was an ad campaign for Bravo, "the number one paper from Domtar." The design studio hired to do the campaign was Emerson, Wajdowicz Studios. It was pretty extensive including full page ads in Print and other design publications, post card mailings and large brochures (10.5 x 14 inch, 16 pages plus die-cut cover.) To promote the printing capacity of the paper, they used the work of Magnum photographers for reproductions. The brochures are particularly nice, being so large, and featuring the work of one photographer: Bruno Barbey, Antonin Kratochvil, Alex Webb, Larry Towell and Steve McCurry are five that I know of that were featured in these oversized brochures.

Here are four of the postcards from the campaign with photographs by Scianna. Each is 7 x 5.75 inches.

PETER BRANDES
D.C.A. Gallery, NYC
2001






LARRY BURROWS
Laurence Miller Gallery, NYC
1998

Stiff card stock, 9 x 3.75 inches, blank back



LYNNE COHEN
P.P.O.W., NYC
2000

Stiff card stock, 6.25 x 5.25 inches




LUCIEN HERVÉ
Michael Hoppen Photography, UK
nd

Stiff card stock, 4 x 5.75 inches




TODD HIDO
Julie Saul Gallery, NYC
2000

Stiff card stock, 5 x 7 inches




PAUL HIMMEL
Keith de Lellis Gallery, NYC
2003

Stiff card stock, 10 x 7 inches, folded once vertically




JOHN HINDE
Wessel + O'Connor Fine Art, NYC
2005

Stiff card stock, 6 x 4.25 inches




RUTH THORNE-THOMSEN
Laurence Miller Gallery, NYC
2001

Stiff card stock, 9 x 3.75 inches, blank back



GEORGE TICE
Sandra Berler, Chevy Chase, MD
2000

Thin card stock, 6 x 4.25 inches




LARRY TOWELL
Leica Gallery, NYC
2001

Thin card stock, 16.5 x 5.5 inches, folded once vertically





WYNN BULLOCK
Laurence Miller Gallery, NYC
2002

Stiff card stock, 9 x 3.75 inches, blank back

The Art Museum of Santa Cruz County
1984

Stiff, card stock; 8 x 8 inches


Back



Stiff, card stock; 16 inches wide by 8 inches folded once vertically
to produce an 8 x 8 inch exhibition checklist


Open


Back




The Halstad Gallery
Birmingham, MI
2002

Stiff card stock; 8 x 5 inches





Swann Galleries, NYC

Stiff card stock; 6 x 9 inches folded once horizontally to produce a 6 x 4.5 inch notecard
(The inside is blank)




Self-portraits

1910


1913


1932


1933


1958


1974

These were shot in the early 1950s on assignment for Holiday Magazine but as with the Robert Capa post, I'm not sure the date of the issues. The first three images are from a chapter entitled "The Low Countries."







The rest of the images are from "The Iberian Peninsula."






The lower left image is by Cartier-Bresson. Top left and lower right: Duncan Edwards; Top center: Arnold Newman; Top right: Slim Aarons; Bottom center: Alexander Wainman.

Early 1950s though I'm not sure of the exact issue. This is from a book that features reprints of articles. I'm almost convinced that the woman in the yellow raincoat is that same woman in the last shot.

I was looking through a book of photographs recently called Griechenland by R. G. Hoegler. Except for the fact that his first name was/is Rudolf, I couldn't find out much about the him. He was a German painter who fell in love with rural Greece and spent many years there before the start of World War II. After the war had interrupted his idyll, he returned to Greece to find that painting no longer spoke "the language of his heart." He took up photography and produced more than one book about Greece.

The book itself is elegant. The copy I have is pretty beat up but it is large, bound in nice cloth with gilt embossed lettering, with all tipped-in images. Quite handsome.

The work is mostly images of the Greek landscape, archeological ruins, sculpture, artwork, towns. All professionally produced and beautiful examples of their genre but for the most part, the book reads like art history (visually reads; the text is all in German which I can't read.)

What sets this book off is that there are more than a handful of images which are unusual and striking. And a couple that are in fact puzzling in the context of the overall theme of the book. Here are some samples:






I really don't know what to make of this image, the last in the book. It's a very odd way of ending this sort of coffee table travel book.

Robert Mann Gallery, NYC
2003

Stiff, card stock, 10 x 6 7/8 inches, folded once to produce a 5 x 6 7/8 notecard






Robert Mann Gallery, NYC
2000

Stiff, card stock, 5 5/8 x 6 inches, printed one side only


The New Yorker
March 13, 2000




Glenn Horowitz Booksellers
East Hampton, NY
May 31 - June 24, 1997

Booklet: 6.25 x 8.75 inches, 24 pages, saddle-stitched with stiff blank wraps with dust jacket



This exhibition booklet features a twelve page essay by Peter Bunnell,
one reproduction (aside from the one on the title page)
and an exhibition checklist of 41 pieces.



Phoenix Gallery, San Francisco
1976

Stiff card stock, 5.5 x 8.5 inches