I’ve been working through how to give meaningful feedback to other photographers about their work and in the course of that I realize that our reaction to work tells us more about ourselves and less about the photographer. That was certainly the case with my initial intersection with Wynn Bullock. Bullock is generally regarded as one of the most significant photographers of the mid-twentieth century. He was a close friend of West Coast photographers Ansel Adams and Edward Weston and a peer of Minor White, Aaron Siskind and Frederick Sommer. I remember seeing his famous photograph Child in the Forest from the 1955 Family of Man exhibition curated by Edward Steichen and dismissed him as not doing something that I was interested in.
I was recently given a copy of ‘Wynn Bullock: Revelations‘, a comprehensive look at his entire body of work that was produced to support the exhibition now showing at the High Museum of Art in Atlanta, Georgia. Of course there are a good number of nudes included in the book which was where he was as a photographer early in his career but then there are a large number of images such as the one above that reflect his interest in how to represent time in a still image. There are a large number of abstract color images that I also find very interesting.
In listening to the interviews with Bullock below much of what he has to say about his photographic explorations resonated with me. Well worth a look.
Lumiere Press are celebrating their 25 th anniversary with the release of STEICHEN: Eduard et Voulangis . As I’m sure you’re all well aware Eduard Steichen was an American photographer, painter, and art gallery and museum curator. Amongst other things Steichen was the first fashion photographer and the curator responsible for the family of man exhibition at the MoMA: An exhibit of 508 photos by 273 photographers in 68 countries were selected from almost 2 million pictures submitted by famous and unknown photographers.
STEICHEN: Eduard et Voulangis focuses on the period of Steichen’s life just after the first world war when he spent time in his home village of Voulangis, just outside of Paris, experimenting and developing as an artist. The volume pairs a very early portfolio of the early modernist work of Eduard Steichen, with an essay from Michael Torosian that charts the path of Steichen’s early development as an artist, his ascent in the orbits of Paris and New York and the confluence of cultural, aesthetic and personal events that dramatically forged his work as a photographer. My copy arrived just before I headed off for a trip to Europe and I’m looking forward to chance to dig into when I return home.