Posts Tagged ‘Magnum’

Exhibition | Saul ‘The New Yorker’ Steinberg

Friday, September 12th, 2014

Chest of Drawers Cityscape, 1950
Gelatin silver print


Saul Steinberg
100th Anniversary Exhibition
Pace + Pace / MacGill Gallery
New York City | USA
Until 18th October 2014


What is a cartoonist? What is an illustrator? Where does one draw the line between illustration and fine art? What happens when you mix illustration with photography; is the end product an illustration or a still life photograph? If you draw something on a 3D object and photograph it; is the result an illustration, or a photograph? And, what if the person who did the drawing, wasn’t the photographer? Whose work is the final image? Does any of these questions matter? Certainly not to Saul Steinberg whose unique creations, equally at home on the pages of magazines and on gallery walls, can’t be confined to a single category or movement, nor did he allow his palette to be bound by any restrictions. His art, if that is how we choose to refer to it, informed by cubism, surrealism, dadaism and pop – indeed he fraternised with many key figures across all areas of the arts, including Pablo Picasso, Alexander Calder, Marcel Breuer, Le Corbusier, Vladimir Nabakov, Simone de Beauvoir and Jean-Paul-Satre, to name but a few – is both catholic and democratic, his influences from high art as well as from low, his subject areas from Wall Street to the gutter.


Girl in Tub, 1949
Gelatin silver print


I first came across Steinberg’s View of the World from 9th Avenue, 1976, reproduced as a poster, hung on the kitchen wall of some illustrator friends, at the Royal College of Art halls of residence in London, in 1977. They’d just returned from New York – which I was yet to visit – bringing the poster back as a souvenir. Having up to that point only ever seen the city in photographs or films, its colossal architecture dominating everything else, leaving me daunted at the thought of ever going there, I was struck by the simplistic, friendly Steinberg depiction of New York as a place in which the people at street level just carried on as they might in any European city – going to work, shopping, wandering around the broad pavements of Manhattan, oblivious to events elsewhere in their country, and beyond. And later, when I’d seen a few Woody Allen films, it occurred to me that here were some life-size characters, who might have been the miniature people that populated Steinberg’s illustration.

Even so, I didn’t consciously go looking for Steinberg’s work – as I had done for that of Milton Glaser and Seymour Chwast, the Push Pin Studios design and illustration heroes of my early college years. And when I started working for a living, I knew that behind the cover of the The New Yorker – which a few of my journalist colleagues at The Sunday Times Magazine studiously read, toting the latest issue around the office as symbols of their literary status and aspirations – there were great swathes of words, which to me, as a ‘visual journalist’, held little appeal. So, although I was certainly aware of his fame and that he was held in high regard, I never knew, until now, that over six decades, Steinberg’s work featured on the cover of The New Yorker no less than 90 times and appeared 1,200 times on its inside pages, before he ended his collaboration with the magazine in 1987 (recommenced, 1993), or that his View of the World from 9th Avenue is regarded by connoisseurs as one of his most notable creations for the magazine – ripped off, adapted, its text changed to suit many major cities across the country, his lawyers were constantly in pursuit of the perpetrators.

Up until I first visited New York in 1997, some nineteen years after seeing the poster, despite what had become my almost daily contact with photographers and sometimes with illustrators based there and elsewhere in the United States, the city remained for me remote, beyond my horizon. And a few more years would pass before I stumbled across a fascinating little book called Saul Steinberg Masquerade (Viking Press, 2000, a reprint, or perhaps re-design of the original Steinberg: The Mask, 1966). It contained The Mask series, an inspired collaboration by Steinberg and the photographer, Inge Morath, between 1959 and 1963, in which Steinberg’s friends posed anonymously in group and individual photographs, having donned paper bags drawn with plain or fantastic faces. Morath had become fascinated by Steinberg and his ‘Steinbergian universe’, whilst living in Vienna in the 1940s, long before she came into contact with him; it wasn’t until she joined Magnum and moved to Paris, where she met Henri Cartier-Bresson, who had taken a portrait of Steinberg, that she even knew what he looked like. Cartier-Bresson described him as ‘un homme délicieux, d’une si grande intelligence’. Irving Penn, too, would create a studio portrait of Steinberg wearing one of his nose masks, in 1966 – during his long career, he sat for many famous photographers, including Arnold Newman and Lee Miller.


Untitled, c 1950
Gelatin silver print


Saul Steinberg (1914 > 1999) was a Jewish Romania-born American. He studied philosophy and literature at the University of Bucharest, and trained as a draughtsman during the 1930s, in Milan. Fleeing Italy’s new anti-semitic laws, in 1941, he arrived in the United States the following year, and had his first one-man show there a year later. He married the only prominent abstract expressionist artist, Hedda Sterne, in 1951, but left her and took up with a German photography and design student in 1960. His work has been the subject of dozens of exhibitions around the globe and produced numerous publications. Saul Steinberg 100th Anniversary Exhibition at Pace + Pace / MacGill Gallery includes work from five decades of Steinberg’s career, exploring the man who himself explored the world and adapted his medium to suit whatever he found in it. Saul Steinberg: A Biography by Deirdre Blair was published by Nan A Talese / Doubleday in 2012. The Musees Strasbourg website has a useful and succinct Steinberg biography in list form.

The Saul Steinberg Foundation is a nonprofit organisation established as a result of the artist’s will. His collection of his own works was divided between the Foundation and Yale University, which also received Steinberg’s archives. The Foundation holds the copyrights to Steinberg’s artworks and writings.

While Steinberg remains for many ‘The man who did that poster’, The New York Times called him ‘a veritable Leonardo of graphic drollery,’ in 2006. On the Magnum Photos site, in the credit for an Inge Morath portrait of him, shot as part of the Mask series, it might have amused him to see himself still quaintly referred to as a ‘draughtsman’, which is perhaps as good a description as any.

All images by Saul Steinberg, © The Saul Steinberg Foundation / Artists Rights Society (ARS), New York, USA. Courtesy Pace and Pace / MacGill Gallery, New York, USA


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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier


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Photography | Chicago Lyon

Friday, June 13th, 2014

Cal, Elkhorn, Wisconsin


Route 12, Wisconsin



Danny Lyon
The Bikeriders
Atlas Modern and Contemporary
London | UK
Exhibition 19th June > 16th August 2014



Hug the kerb cyclists, ‘The motorcycle is back!’ announce German publishers Gestalten in the press release for their new book The Ride, edited by Chris Hunter and Robert Klanten. The book we are told explores motorcycle riding as a means of getting around with attitude, as an extension of one’s own body, as an expression of personal freedom, discipline, and driving skill.

Nothing would appear to have changed much in the intervening years since The Bikeriders, first published in 1968, as a vehicle for photojournalist Danny Lyon’s experiences between 1963 and 1967 as a member of the Chicago Outlaws Motorcycle Club, and the book’s republication in 2014 by US high-end photo book producer, Aperture.


Clubhouse during the Columbus Run, Dayton, Ohio


Prairieville, Louisiana


Racers, McHenry, Illinois (2)



Born in New York in 1942, aged 20, Lyon began taking pictures in the early 1960s for the Student Nonviolent Coordinating Committee at the University of Chicago. Self-taught, his earliest photographs, published in his first book The Movement (1964) were reportage images of the Southern Civil Rights Movement. His documentary reporting style is akin to that of 1960s and 70s-era New Journalism – Truman Capote, Tom Wolfe, Joan Didion – and his immersive methods have something in common with the influential ‘method’ school of acting.

Regarded as one of the most influential documentary photographers of the last fifty years, Lyons many books include: The Destruction of Lower Manhattan (1969), Conversations with the Dead (1971), I Like to Eat Right on the Dirt, A Child’s Journey Back in Space and Time (1989), Knave of Hearts (1999), Like a Thief’s Dream (2007), andDeep Sea Diver (2011).

His aim always to present an alternative vision of America through his photography, subverting the country’s commercialised image, Lyon has spent his career documenting American countercultures. Outspoken, in a rant against Life magazine, he has been quoted as saying: ‘I was against it and I knew in my heart of hearts there was a better way to take photographs of people and the world’. His gritty biker pictures stand testament to his conviction.

Marking the first time that they have been shown in the UK, the Atlas gallery will be exhibiting 40 modern prints from The Bikeriders series.

Photos © Danny Lyon. Courtesy Magnum Photos / Etherton Gallery, Tuscon, USA, and Atlas Gallery, London


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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier


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Photography | Martin Parr at his Peak

Friday, July 26th, 2013

Martin Parr – Souvenir
Museum für Gestaltung Zürich
Zürich, Switzerland
Until 5th January, 2014


Above, Switzerland, The Matterhorn, 2012
From Autoportraits

Switzerland, Zurich, 1997
From Think of Switzerland


Switzerland, St. Moritz Polo World Cup on Snow, 2011
From Think of Switzerland


Switzerland, Zermatt, 2012
From Think of Switzerland


Switzerland, Zurich, Opera Ball, 2013
From Think of Switzerland


To use a hackneyed phrase like ‘a picture is worth a thousand words’ can sometimes be useful, and in this instance – as I’m currently very busy with other things and, regretfully, don’t have much time to write – particularly apposite. Suffice it to say then, that renowned and highly influential member of the world-famous Magnum Photos cooperative, photographer Martin Parr’s images of Switzerland, above, along with a broad selection of his formidable body of distinctive, often amusing but always searingly incisive reportage work, produced in Great Britain and internationally, is currently on show in Martin Parr – Souvenir, at the Museum für Gestaltung Zürich.

All photographs by Martin Parr
© Martin Parr / Magnum Photos


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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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