The change in aperture's format signals but a moderate revamping of policy; in fact "revamping” is hardly the word. The change signals a fresh coming to grips with the original ideals. We can still say that "aperture has been originated to communicate with serious photographers and creative people everywhere, whether professional, amateur or student.”
NURSERY RHYMES HAVE A NATURAL WISDOM AND NAIVETE WHICH MAKE THEM UNIVERSAL AND TIMELESS. I FEEL THAT BY THE JUXTAPOSITION OF NURSERY RHYME AND PHOTOGRAPH A STRONGER AND MORE EVOCATIVE STATEMENT HAPPENS THAN BY EITHER RHYME OR PHOTOGRAPH ALONE.
The Trustees of George Eastman House appointed Beaumont Newhall to the position of Director 9 September 1958. With this official act a new phase in the life of a museum begins. The hopes, the aspirations, the responsibilities of Eastman House to the world of photography are reiterated best in the following statement prepared for the Board of Trustees by the new Director.
The tenth anniversary of the George Eastman House offers an opportunity to review our purposes, measure our accomplishments, and outline our plans for the future. The George Eastman House, Inc., an independent educational corporation, was founded in 1947.
Is There an Underground Movement Based on the Fine Photograph?
Anyone willing to confine his camera work to photographs made to be seen for their own sake? Anyone willing to deal exclusively with the photographic fine print? Anyone willing to keep photography as a medium distinct from the medium of camera images reproduced in printer’s ink?
POLAROID LAND PHOTOGRAPHY AND THE PHOTOGRAPHIC “FEED BACK” EMPLOYED WITH INFORMAL PORTRAITS
An Unillustrated Article
Why should we unillustrate an article on a subject which depends so heavily on visual images. The "feed back” technique puts photographs to use. And the effectiveness of communication between photographer and sitter, in this case informally, depends on the pictures themselves.
When members of the hand-art fraternity bring up the question "Is photography art?” one may be certain that these members do not know what their medium is really all about, or what art is. Photographers, when you get accosted by painters who, in their innocence, revive that tiresome old argument that Photography is not an art (which is true), reply that Painting is not an art.
Last Fall photographic literature was greatly enriched by the publication of MASTERS OF PHOTOGRAPHY by Beaumont and Nancy Newhall and THE PICTURE HISTORY OF PHOTOGRAPHY by Peter Pollack. Each in their own way is of unusual stature: the Newhalls bring perception and insight of a high order to the starved and naked field of photographic criticism; Pollack adds a rich collection of pictures to the past and present history of photography.
Sam Tung Wu in a recent tour from one Cloud of Unknowing capped peak to another was seen in the company of William Blake. Those who say photography easy on side of angels. Camera work on side devils. Wiliam Blake answered: No one knows where angels stand Devils beset us on every hand.
With John Ciardi’s Study of Robert Frost’s "Stopping By Woods On a Snowy Evening,” I became convinced that the best way to present and discuss photography, in a publication devoted to photography, was by printing photographs that speak for themselves sandwiched between works on other, and related, art subjects.
Congratulations to the SATURDAY REVIEW for going far out of its usual field in an effort "to serve the cause of photography as a fine art.” As we read the various articles by metropolitan critics and Museum Directors our hopes folded for anything as penetrating as John Ciardi regularly writes about poetry.
Larry Colwell is a Monterey, California photographer with a growing reputation for nudes in strange places. He is currently in Europe on an extended photographic excursion. Nathan Lyons, a graduate of Alfred University, recently had a small one man show at George Eastman House where he is Associate Editor of IMAGE.
Photographers throughout the world are invited to submit a selection of three prints from their work, which, in the photographer’s own opinion, represents his own characteristic contribution to the growth of contemporary camera-vision.