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Beyond his mastery of the craft, however, Henle was driven by a lifelong urge "to show people beauty." "I am obsessed," he said, "by showing them beauty."".
'Project Cheers is a story of brilliant organization and endeavor by three men dedicated to an idea which many thought crazy. That idea was a fantastically fast twin hulled craft called Cheers, designed specifically by Dick Newick to win the Single-handed Transatlantic Race in 1968.' This is the second edition of this historically significant sailing classic since its first publishing in 1969. A website; http: //www.cheersdicknewick.wordpress.com is ever developing to compliment the book. Photos, links, updates, bio's, and eventually video, complement the story.
When Frida Kahlo, died, her husband Diego Rivera asked the poet Carlos Pellicer to turn the Blue House into a museum that the people of Mexico Could visit to admire the work of the artista. Pellicer selected those of Frida’s paintings which were in the house, along with drawings, photographs, books, and ceramics, maintaining the spaces just as Frida and Diego had arranged them t olive and work in. The resto f the objects, clothing, documents, drawings, and letters, as well as over 6.000 photographs collected by Frida in the course of her life, were put away in bathrooms converted into storerooms.
Text by Margaret Hooks.
An unprecedented look at a moving photographic series that chronicles the gay communities of Los Angeles and San Francisco from 1969 to 1972 For more than forty years, American photographer Anthony Friedkin (b. 1949), creating full-frame black-and-white images, has documented people, cities, and landscapes primarily in his home state of California. During the culturally tumultuous years of 1969 and 1970, Friedkin made a series of photographs that together offer an eloquent and expressive visual chronicle of the gay communities of Los Angeles and San Francisco at the time. This is the first book to explore the series, titled The Gay Essay, in depth, within the broader historical context that gave rise to it. 1969 witnessed the Stonewall riots in New York City and was a turning point in the history of community building and organized political activism among homosexuals in the United States. The Gay Essay provides a singular, intimate record of this crucial moment. Friedkin's portraits, taken in streets, hotels, bars, and dancehalls, demonstrate a sensitivity and an understanding that has imbued the photographs with an enduring resonance. This handsome book features seventy-five full-page plates and is accompanied by engaging essays and a poem by Eileen Myles. Published in association with the Fine Arts Museums of San Francisco Exhibition Schedule: de Young, San Francisco (06/14/14-01/04/15) International Center of Photography, New York dates TBA
At the beginning of the 20th century a lively and profitable exchange developed between artists in the United States and Mexico. The Americans were full of enthusiasm for the Mexican synthesis of history and modernity and their social commitment, which contrasted strongly with the consumer culture in the U.S. The Mexican artists in turn found important financiers across the border. The volume shows through paintings, drawings, photographs and graphical works from the Harry Ransom Center in Austin and other important museums how this intercultural network brought forth a large number of world-famous artists.00Exhibition: Harry Ransom Center at the University of Texas, Austin, United States (11.09.2017-01.01.2018) / Museum of the City of New York, United States (2018).
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Every photograph - whether family snapshot or museum masterpiece - comes to life out of the silver shadows in the negative. Yet the value and intrinsic beauty of the photographic negative have been woefully underappreciated. Auction houses disdain negatives of even the most celebrated photographs, insurance companies routinely underestimate their worth, and the general public never gets to see them. Only archivists, dealers and photographers themselves understand how priceless, unique and visually stunning negatives truly are. Celebrating the Negative rectifies matters in glorious fashion. John Loengard has tracked down and photographed the negatives of some of the most famous images ever made: Alexander Gardner's legendary portrait of Abraham Lincoln and Walker Evans' haunting portrait of Bud Fields and his family; Ansel Adams' serene Moonrise, Hernandez, N. Mex. and Robert Capa's D-day beachhead. Loengard's work literally and figuratively illuminates these negatives, revealing how the photographer has manipulated the image to produce the final print by choosing what to crop or enlarge, what to darken or lighten. The mastery of Man Ray, Yousuf Karsh, Alfred Stieglitz, Margaret Bourke-White, Alfred Eisenstaedt, Henri Cartier-Bresson, Andre Kertesz and Edward Weston, to name but some of the many photographers represented here, shows up in their negative capability.