In late May, a controversial exhibition of some seventy-five color photographs by William Eggleston opened at The Museum of Modern Art in New York City. Because of a booming photography market and the newspaper and magazine space being given to photography, the show was a cultural event.
The photographs included in The Last Empire: Photographs of Victorian India, the well-received, widely reviewed exhibition at the Asia House Gallery in New York, now also a book, were often physical as well as photographic feats. The cameras used by the British photographers in India were heavy and cumbersome, the negatives hard to fix and the prints unpredictable in their quality and longevity.
When in 1955 Paul and Hazel Strand bought a house in Orgeval, a small village some twenty miles from Paris, Hazel Strand began gardening for the first time. In the sprawling, trellis-covered house, she found an old book left behind by former owners—a botany textbook rather than a seed catalogue.
Josef Koudelka was born in Boskovice, Czechoslovakia, in 1938. For the past ten years he has traveled throughout Europe, from his native country to Rumania, to Spain and Portugal, to France, England, and Ireland, photographing primarily the nomadic and settled Gypsies.
Lea is one of the things you find if you dig into the body of the word light, which was Wynn’s meat. Wynn’s mead; Wynn’s meadow—now you can see how lea gets close to meadow—“and the brightness begins.” Wynn Bullock was deeply (perhaps sorely) affected by Alfred Korzybski’s dictum: “the word is not the thing.”
When Uzzle got married at nineteen in the small North Carolina town where he grew up, he photographed the story of the wedding dress, his mother and his bride-to-be meeting for the first time to sew the gown, and a $25 budget for the entire wedding.
What makes a house look like a house, a school look like a school, or a bank like a bank? What makes a gasoline station look like a good neighbor? Signs of Life: Symbols in the American City* is intended to show that the elements of architecture have symbolic meaning and give messages about the environmeant that make it comprehensible and therefore usable by people in their daily lives.
JOSEF KOUDELKA studied aeronautics at the University of Prague, receiving an engineering degree in 1961. Since 1967, he has devoted himself entirely to photography. His earlier work concerned itself largely with the theater and included a book of photographs of a production of Alfred Jarry’s Ubu Roi.