Issue No. 19
The Big Picture
Debuting in 1998, 21st: The Journal of Contemporary Photography reintroduced an artbook aesthetic that had seldom been seen since the efforts of Alfred Stieglitz and Edward Sheriff Curtis in the late 19th and early 20th centuries. Carla Williams looks at the complete collection as Volume V is being readied for release.
Overcoming deafness—the result of a war injury—and a battle with tuberculosis, he built on early studies with Ansel Adams and Minor White to create a body of work reflecting an uncanny ability to see and communicate the unseen in both concrete and abstract subject matter.
One of the most influential in the sphere of photography—president of Magnum, author, curator, co-founder of ICP—this world-class photojournalist made images marked by compassion.
In a series of photographs grouped under the title Surface Tension, he explores the creative possibilities of sandwiching negatives, conjuring up images that open our eyes to new visual events—voyages into the realms of the subconscious.
Setting up his large-format view-camera in old architectural structures—often abandoned—he searches for beauty in everyday objects, and the means to evoke the spirits of people who lived and worked in them.
After 25 years as a fashion photographer in New York City, he left for New England and the old ways of platinum printing.
Using his vivid imagination, he transforms flesh, muscle and bone into new and fantastic geometries.
He has traveled every road in the world of photography: model, editor, collector, publisher, gallery owner—and photographer.
He did freelance photography for New York Magazine at the age of 18, and went on to a successful commercial career—but didn’t find true satisfaction until he could do his own work in nature.
He spent 40 years photographing movie stars, but now—feeling that the milieu he once knew and loved is gone—he concentrates on his own work: shooting nudes and flowers distorted by a special funhouse mirror.
The strict limits of a community vegetable garden constitutes his small visual space—and he makes the best of it, fashioning masterpieces out of chaos.