Author Archives: joelmeyerowitz2014

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About joelmeyerowitz2014

STUDIO BIO: Joel Meyerowitz is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries around the world. He was born in New York in 1938 and began photographing in 1962. Meyerowitz is a “street photographer” in the tradition of Henri Cartier-Bresson and Robert Frank, although he works exclusively in color. As an early advocate of color photography (early-60’s) he was instrumental in changing the attitude toward color photography from one of resistance to nearly universal acceptance. His first book “Cape Light” is considered a classic work of color photography and has sold over 100,000 copies during its 26-year life. He has published nineteen other books including “Bystander: The History of Street Photography” and “Provence: Lasting Impressions.” In 1998 Meyerowitz produced and directed his first film, ”POP”, an intimate diary of a three-week road trip he made with his son Sasha and his father, Hy. This odyssey has as its central character an unpredictable, street wise and witty 87-year-old with Alzheimer’s. It is both an open-eyed look at aging and a meditation on the significance of memory. Within a few days of the 9/11 attacks on the World Trade Center in New York, Meyerowitz began to create an archive of the destruction and recovery at Ground Zero. He was the only photographer who was granted unimpeded access to the site. Meyerowitz took a meditative stance toward the work and workers there, systematically documenting the painful work of rescue, recovery, demolition and excavation. The World Trade Center Archive includes more than 8,000 images and will be available for research, exhibition, and publication at museums in New York and Washington, DC. In 2001 The Bureau of Educational and Cultural Affairs of the U.S. State Department asked the Museum of the City of New York and Meyerowitz to create a special exhibition of images from the archive to send around the world. The images traveled to more than 200 cities in 60 countries and over three and a half million people viewed the exhibition. In addition to the traveling shows, Meyerowitz was invited to represent the United States at the 8th Venice Biennale for Architecture with his photographs from the World Trade Center Archives. In September 2002, he exhibited 73 images – some as large as 22 feet – in lower Manhattan. Some recent books are: “Taking My Time”, his fifty year, two volume, retrospective book by Phaidon Press of London, “Provence: lasting Impressions,” co-authored with his wife Maggie Barrett, a book on the late work of Paul Strand by Aperture, "Glimpse": Photographs From Moving Car, which was a solo show at MoMA, and "Joel Meyerowitz Retrospective", published in conjunction with his recent show at NRW Forum in Dusseldorf. Meyerowitz is a Guggenheim fellow and a recipient of both the NEA and NEH awards. His work is in the collection of the Museum of Modern Art, the Boston Museum of Fine Art, The Art Institute of Chicago, and many others.

JUNE 22, 2015

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Roadside Opera

Here’s a little story. We had gone to a nearby town for dinner and on the way back, as we passed through a burgo, a small collection of about 5 houses, we saw that 3 people were sitting on the bench right there on the edge of the road that passed through the place. Gianni, ever the connection between all things Tuscan, called out to them as we passed by and they waved to us to stop.

As soon as we did, the Italian Opera began, as always, with gestures, and a half hour of stories and laughter. One of the men had broken his arm and was holding a hand carved stick which helped him do whatever he needed to do with his one good arm. By the end of the exchange Gianni walked away with his stick. How he managed to get the guy to give it to him I cannot say, but it offered me a wonderful few minutes of watching the whole drama play out.

Even the nights in Tuscany are rich with possibility.

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JUNE 21, 2015

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Spirits

We have all done this, I know. And I don’t often like to try to find figures in clouds, or patterns and faces in shadows, or other potential sources. So when Maggie and I went to Bagno Vignoni – a Roman bath town nearby – for a lunch and a lie down under the Linden trees; because this was the time of year that Linden trees let out a perfume that is like syrup in the air, and it had become a 20 year, mid-June, ritual of ours to make this pilgrimage. So I was surprised, while looking up into the trees, to be reminded of the paintings of Giuseppe Arcimboldo.

I’m sure you have seen these famous paintings of fruits, vegetables, animals, woodland plants and flowers, etc. But there we were, under the animated spirits of the trees, and with a contented, post lunch dreaminess, we watched the spirits emerge.

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JUNE 20, 2015

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Simple Things

Summertime means simple meals. We were lucky that summer to be eating out of the farmer’s garden nearly every day. A broth of vegetables and lentils, some steamed zucchini, fresh tomatoes, edible flowers to embellish the tops of anything we wished, some locally baked crackers. This kind of eating makes me want to photograph every meal, and sometimes I do. More of a record than art, but simplicity is what it demands.

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JUNE 19, 2015

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Millisecond

Gianni had arrived while Maggie was watering her roses. It was a blistering hot day and Maggie, spontaneous as always, turned the hose on him as he was walking away, and Gianni, open as always to whatever the next thing is, responded with such a moment of joyous abandon that I turned around and saw his exaltation and the rainbow all in the same millisecond. It pays to have the camera wherever you are, even around the house.

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JUNE 18, 2015

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Moving Pieces

Siena’s Campo is one of the most spacious piazzas in Italy, and one of the most unique. It is a fan-shaped, brick patterned, space with 9 divisions representing the different contradas, or quarters, that existed when it was built. It functions as a giant sun bowl filled with people usually lying on the bricks and chatting, sleeping, eating, or playing. But what has always fascinated me – and I would like to make a time lapse video of this – is when groups agree to meet in the Campo they usually avoid the heat of the sun by standing in the shadow of the clock tower, and as the shadow moves, like a sweeping sundial’s pointer, everyone moves with it.

I can imagine a very funny short film showing the changing texture of the crowds and varying amounts of people filling the full length of the shadow. This early June morning shows only the first sets of tourists.

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JUNE 16, 2015

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Then and Now

Two years ago our place, which was then just a summer rental, looked like this, a gravel covered acre with not much else . Now that we have a long term lease on it we have made some improvements. Maggie is the giardiniera and treats the whole space as a work in progress. But it is really more like an ‘earthwork,’ given how she conceives of all the elements and spaces that the garden consists of, almost as if they were ‘rooms’ outside, where one can go when a different experience is needed.

Part of my daily shooting has been to document the changes that have come over the place as Maggie makes it come into focus. Documenting everyday life has its joys as much as being out in the world at large and watching the crazy goings on out there. I like the mix of the two.

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JUNE 15, 2015

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Ordinary Moments

Some days not much happens.

We went for a walk.

I stopped to look at my own shadow.

The small, ordinary moments that life continually presents, in which I hope to find just a little moment of concentrated observation that would keep the idea of daily imagery going. These are the tough lessons of a project like this one; how to keep interest alive while many other things: books, shows, presentations, all crowd in and eat up precious time. So, as I have said before, “I’ll make the most of what I have.”

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JUNE 14, 2015

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Elemental

Some years ago I began a series called “The Elements,” in which I was trying to see if I could photograph the phenomena of the 4 elements without resorting to the conventions of traditional renaissance perspective where there was a horizon line and diminishing markers of distance. I asked myself, ‘can I photograph the simple fact of each of our 4 phenomena; Air, Water, Earth, Fire, in such a way as to make them the pure statement of the thing itself?’

I began looking at sky, sea, earth, etc and realized that this could be close to being the most familiar and boring photographs one could make. Dumb images of dirt? Still photographs of water in a pool or lake? But my thought was to make them BIG, really large scale, say 10 feet high by 12 or more feet long; and I did make some like that for a show in Germany, where they were well received and collected.

I continue to add to that body of work whenever something speaks to me. Here was a moment when the light was going, and a stream of buttermilk clouds slowly drifted into view, and I found myself in that frame of mind where studying the sky for a while was a purely pleasurable experience, and what could be a better stimulant than pleasure for making photographs?

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JUNE 13, 2015

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Timeless

To stand in the shadows, looking out into the light, is like a child’s game of thinking that the treasure is down there, just past the sunlight, around that bend. But the treasure is to be standing still, in the quiet cool at the end of a June day, and drinking in the sweetness of it, the silence, the timelessness that it suggests. And then raising the camera to affirm the sensation of contentment that overcame me.

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