Sloane #34, Oakland CA “Suddenly when I tried to speak with people they would not answer me. So there we were completely isolated in America while the US was at war.” By Robert Wiedenfeld for ASX, March 2011 Robert Wiedenfeld: Initially how did the concept develop for The New Life (La Vie Nouvelle)? […]
By Baptiste Lignel for ASX Upon walking into the office of the Marian Goodman Gallery in Paris, one faces a very large digital print, literally nailed to the wall. A large brown metal oval shape seems to have landed over the ruins of a city. The contrast is striking between the two halves of the […]
Gestapo Informer, Dessau, Germany, 1945 For some twenty years now Cartier-Bresson has been doing just that. He carries a camera with him constantly. Every picture which he has taken is a very personal record of something which is already taking place. He has no studio, does not employ models, does not even direct those he […]
Madrid, 1933 Cartier-Bresson generated the type of admiration he both enjoyed and ran away from. By Bruno Chalifour, Afterimage, Sept-Oct, 2004 A lot has been written, and more will be, about the life in photography of Henri Cartier-Bresson. If Europe contributed to the medium in the twentieth century, Cartier-Bresson, a.k.a. HCB, probably stood among the […]
Les photographies d’Alec Soth puisent leur racine dans la tradition de Walker Evans, Robert Frank et Stephen Shore. Sa représentation du quotidien fait apparaître la complexité d’une société américaine construite sur des idéaux d’indépendance, de liberté, de spiritualité, et d’individualisme.
“There is a rhyme between different elements. There is a square here, rectangle and other rectangle…see its all these problems which I’m preoccupied with. The greatest joy for me is geometry that means a structure.” The Decisive Moment – Photographs and Words by Henri Cartier-Bresson (1973) Henri Cartier-Bresson “I’ve been taking pictures when I […]