“No presentation of Friedlander’s work is more effective than that of his books…” writes James Enyeart in the essay that accompanies Lee Friedlander’s new book of photographs, Sticks and Stones: Architectural America.
Photography is no passive vehicle between events and viewers: Marco Breuers fourteen photographs and thirty-two studies at Von Lintel Gallery are events in themselves.
“If you see an apple tree growing in the woods,” says John Szarkowski, “you don’t instantly recognize it as an apple tree because it hasn’t been pruned. An apple tree in an orchard or a farmyard is constantly being pruned to let in the air and let in the light. It is half natural and half man-made.”
Six From the Seventies: The Last Years of Modern Photography and Evidence of Impact: Art and Photography 1963-1978By Farrah Karapetian
To your right, as you walk into Howard Greenberg, Frank Gohlke makes a few poker-faced jokes about parking lots, planting a bush in the center of his frame or leading you in with a few well-positioned arrows painted on the road.
In one of the great photographic legends of our century, William Egglestons career began in 1967 on the doorstep of New Yorks Museum of Modern Art.
Contemporary art photography finds its audience not only in galleries and museums, but in the alternative space of the magazine. Since Alfred Stieglitz founded Camera Work, the portable space of the journal has served as a real forum for the exchange of ideas in photography.