“Helter-Shelter,” An Exploration into the Organization of Temporary Communities. Photographs by Maxwell MacKenzie, AIA Headquarters Gallery(2)
Moving is part of our cultural heritage. We are restless; we are adventurous; we move to find better opportunities or just to explore. We have pushed the boundaries of this country west and north and south. We abandoned farms in droves and moved into urban areas at the same time exiting cities to build rings of suburbs. We have forsaken homes altogether to live on the open road, inventing recreational vehicles and trailer parks. Recently, thousands of Americans with bad mortgages have been forced to give up their homes, clinging to their RVs like life rafts in a storm. In good times and bad, it seems, we are on the move.
When walking into Paris’s first retrospective exhibition of the photographs of Eva Besnyö at the Jeu de Paume, I was met with three mysterious images, visually linked by their askew perspectives. One is a self-portrait of Besnyö, who was born in Budapest in 1910 and broke free of Hungary’s provincial constraints to become a Berlin-based photographer at the young age of 20. The image of the woman in the portrait looks, in a word, contemporary. Unconventionally beautiful, Besnyö looks intensely into her medium format camera, hair tousled as her neck cranes above the view finder to which she is acutely focused, projecting an image of herself as an intense, slightly bohemian artist at work. Besnyö orchestrated this image of 1931 so that the viewer looks up to her from down below, and thus elevated before us is a powerful figure who directs our gaze and controls her own image long before similar strategies were conceived by feminist artists of the 1960s. It is from this point that the viewer commences into an exhibition of 120 prints by a photographer who has been given too little attention.
Ruth Reichl, Ellen Doré Watson, Patty Crane, Francine Prose, and Elizabeth Graver respond to Walker Evans’ “Kitchen Wall, Alabama Farmstead” now posted on the new Gastronomica online..with interviews with Darra Goldstein and Hannah Fries
As part of the second annual Berkshire Festival of Women Writers, Orion and Gastronomica co-hosted a reading featuring renowned food writer Ruth Reichl, poets Ellen Doré Watson and Patty Crane, and fiction writers Francine Prose (finalist for the National Book Award) and Elizabeth Graver. Their contributions have now been posted on the new Gastronomica site as a Web exclusive.
The exhibition of Joel-Peter Witkin at the Bibliothéque Nationale is not a retrospective, but an arresting exploration of the photographer’s work over three decades. In collaboration with Witkin, the curators of Enfer ou Ciel (Heaven or Hell), on view until July 1, compare many of his most fascinating and well-known images to the library’s exquisite and significant collection of prints. Placed in an art historical context of similar imagery found in the prints of such artists as Albrecht Durer, José de Ribera, Rembrandt, Francesco de Goya, and Pablo Picasso, Witkin’s work is thus tangibly embedded within a tradition of symbolism and mythology, and the pondering of the human condition and its spiritual dimensions by great masters of Western art.
More in this category
- Paris aime la photographie I
- Leonard Freed, The Italians (Io amo l’Italia), exhibition now at Ersel, Torino, until July 31, 2012
- Doisneau: Paris Les Halles at the Hôtel de Ville (English Version)
- Doisneau: Paris Les Halles à l’Hôtel de Ville (version française)