There isn’t much Joan Didion is under-appreciated for, except maybe this: Nobody has made a greater contribution to the canon of the author photo.
Consider the recent photography exhibition of writers and editors marking the 50th anniversary of The New York Review of Books. Didion—famous for a half century herself—understood the value of taking portraits early and often.
No photos labeling ‘Schvartzes’ allowed. Read More
Point and Shoot
There are few things as publicly humiliating as falling on your face in the middle of the street. There are also few things as funny as looking at pictures of such graceless individuals. Circle of life, Hakuna Matata: One man’s burden is another’s LOL of the day.
Luckily (for the rest of us), one intrepid AFP photographer named Timothy Clary posted up on a 5th Avenue yesterday and took as many photos as possible of people slipping down the street. The results are unsurprisingly amazing.
There’s a new Gawker Media property in town. The image-based site, Dodge&Burn, is designed to chronicle and capture “the mundane and the magical, the sad and the uplifting.” Dodge&Burn is the work of Victor Jeffreys II, a contributing photo editor for Gawker.
“The idea here is to use jpeg as opposed to written content as the basis for conversation,” Mr. Jeffreys told The Observer.
Art shows at on-the-market penthouses are so common that they have arguably supplanted open houses in many of the city’s trendier corners, but art made and sold by the penthouse’s listing broker is something new.
Last night Douglas Elliman broker Fredrik Eklund hosted an exhibit of his photography in the penthouse of 50 Lispenard Street. Mr. Eklund told us that all 25 photographs at the event sold. The penthouse, listed for $4.55 million, is still on the market. (Mr. Eklund has the entire six-unit building, which is half sold).
Among the thousands of images taken of Hurricane Sandy’s destruction, showing mangled houses and weeping children, photographs of floating family albums and framed memories lost to the storm have been particularly poignant.
For these families, there is no way to rebuild a photograph of a baby’s first step, a great-grandfather’s smile, a son’s lost tooth Read More
You are looking at a photo of a man in a coffee shop. He is wearing a straw hat, frayed around the edges. His hair is white underneath, and long. His hand is grasping a coffee cup, but he is not looking at it. He is looking at someone out of frame, making a gesture with his free hand: fingers extended, palm pointed slightly diagonal and down. The universal sign for “This is the important part.” In mid-gesture, he is animated. He does not seem to know he is being photographed.
This is how Denis Piel might have posed the scene of himself being interviewed about his latest book, Moments. The photographer with the flair for the cinematic is set to release a coffee table collection later this month with Rizzoli. Moments is a series of images, mainly of models and actresses, that Mr. Piel shot on the set of various advertising and editorial campaigns during his tenure in the ’80s as of one the magazine world’s Big Names.
More than 30 years after his son Etan became one of the first missing children to appear on a milk carton, Stanley Patz has withdrawn distribution rights for his photographs from the Associated Press.
In a statement, the AP said it had removed four photos of Etan from their database and instructed its member newspapers do the same. The request came shortly after the April excavation of a Soho basement failed to uncover Etan’s remains and before Pedro Hernandez’s confession thrust the grieving family back into the media spotlight.
When 6-year-old Etan disappeared on the streets of Soho in 1979, the Patzs believed circulating the collection of personal photos (Mr. Patz is a professional photographer) would aid in their son’s speedy return. Instead, they helped make it one of the most sensational and heartbreaking media stories of the decade.
One of The Observer‘s favorite architects, SO-IL, shared some photos from one of our favorite architectural photographers, Iwan Baan. The flying Dutchman literally took off for Randall’s Island to snap some shots of SO-IL’s temporary pavilion on the island for Frieze. They are some of the slickest snaps we have seen (not counting our own!) especially the ones taken from a borrowed helicopter.
Old New York is still all around us, if you know where to look. At least, that’s the idea that Frank Jump is selling.