THE EXTRAORDINARY COLLECTION OF MARIE-THERESE AND ANDRÉ JAMMES AND ITS RECORD-BREAKING AUCTION
Last October I was invited to a "Surreal Dinner" at Sotheby's in London. It was held in honor of two sales—one of photographs, another of books—that were to take place the next day. Both sales featured extraordinary material—the most excessively exquisite of corpses, so to speak—by Apollinaire, Breton, Eluard, Man Ray.
ISOLA (Island) is the story of a strange voyage that begins with the infinite expanse of the sea and then leads us into the infinite dimension of isolation. We depart on this voyage with the conviction that we are exploring a real place: the island.
Edward Weston's public self-portrait has nearly always been based on his Daybooks—the diaries he kept from 1922 until 1934, writing at 5 A.M. each morning, fueled by a pot of strong coffee. Before the Daybooks were published (in two volumes, the first in 1961 and the second in 1966), the originals were brusquely censored by their author's own razorblade; Weston removed entire sections, or sliced out passages leaving windowlike holes in the pages.
JUÁREZ PHOTOGRAPHER TAKES FORBIDDEN IMAGES IN FOREIGN-OWNED FACTORIES
He rises, his lean body unfolds from the chair in the hubbub of the market, and he moves with feline grace, camera in hand. The table hosts short, dark teenagers from Oaxaca, country people who have come up more than a thousand miles to the border because they have heard rumors of work.
"the Buddhist term karma is the inexorable relationship of action and result," Marilyn Silverstone once said. "One's life now depends on one's past actions. One's future depends on one's present actions. At every moment we have the choice, and it is in our hands to mold our future lives."
Jeff and I go way back. It must have been the summer of 1961 when I was twelve. I caught my first wave on a board at his dad's beach house in Malibu. In high school, Jeff and I belonged to a club called the Gents: our objectives were to be popular, have parties, and not get hurt too badly by the Windsors, our arch-rival club comprised mostly of jocks and thugs.
When I was growing up in the '50s, one of my favorite TV programs was a series called Bride and Groom. What I remember, which may have only the most casual relation to the truth, was that every episode featured a brief interview with joyous, nervous newlyweds-to-be, who were then married on camera.
If Aperture is to continue to respond to the shifting boundaries between media, and to the remarkable range of cross-cultural experiences that photography now addresses, then the magazine has to evolve as well. In this evolution, Aperture must remain an intense and diverse publication where pictures and texts complement and play off one another, where it is possible to experience revelatory images in light of equally riveting and ground-breaking contemporary writing.
In the spring of 1999, long after any reasonable person would have quit and not very long at all before he was to die of cancer, Tibor Kalman was sitting in his living room with a dozen or more of his graduate students from the School of Visual Arts in New York, spreading the word.
It was already rather odd that the two women should visit Dillinger's body while clad only in swimsuits. But what is to be made of the light bulb that one of them holds in her hand? For that matter, in another photograph showing a murderess brutally positioned for the press, how did the policeman on the right injure his splinted finger?
It would be difficult to come up with a more concise formula for photographic integrity than this: Projects work when you: —Stay close to the truth —Try to understand —Avoid sentimentality and bad photographs (this adds more to the confusion than to comprehension) The words are those of photographer/filmmaker Raymond Depardon, who has been grappling with those precepts for more than four decades.
Ed Van Der Elsken LOVE ON THE LEFT BANK Stockport, England: Dewi Lewis Publishing, 1999
Ed Van Der Elsken
I love Ann but she is not interested. For months and months I was with Ann all the time, except between four in the morning and four in the afternoon, when she slept. Except too, when she went to the W.C., then I waited for her at the door. She very much liked to have a shadow.
Lynn Davis MONUMENT Preface by Patti Smith; Introduction by Rudolph Wurlitzer Santa Fe, New Mexico: Arena Editions, 1999
Where black is bright as dead. Where all things are another. Where the sea is the desert. Where decay is transformation. Where ice is bone is torso. Stone is the mottled skin of a guardian. The spine of a delicate temple. The organs of a ruin. The shadows of Yemen—the musical ribs of the earth.
MARK HAWORTH-BOOTH is Curator of Photographs at the Victoria & Albert Museum in London. His publications include "Photography and Time," Aperture 158 (co-editor), and the Afterword for Lady Hawarden: Studies from Life, 1857-1864 (Aperture, 1999).
Unless otherwise noted, all photographs are courtesy of and copyright by the artist, all rights reserved. Cover, pp. 35, 36 (top and bottom), 37 (top and bottom), 39, 51, 52 (top), 53, and 76 all courtesy of Magnum Photos, NYC; pp. 1, 2, 3, 4, 5, 6-7, 8, 9, 10, 11, 12, 13, all courtesy of Sotheby's London;
BERKELEY, CALIFORNIA China: Fifty Years Inside the People's Republic UC Berkeley Art Museum April 12th-June 18th CLEVELAND, OHIO Michael Nichols: Brutal Kinship Cleveland Metroparks Zoo March lst-June 30th FRANKFURT, GERMANY Man Ray: Retrospective 1890-1976 Schirn Kunsthalle May 20th-July 30th