Showing posts with label Ernst Haas. Show all posts
Showing posts with label Ernst Haas. Show all posts

Sunday, August 11, 2013

"Breaking Bad's" creator, Vince Gilligan, talks about shooting the show in New Mexico, and exploring sights in the state


 
Ernst Haas: Route 66, Albuquerque, 1969



Via The New York Times
Sunday, August 11, 2013


"And in Albuquerque itself, what’s of interest?
I’ll admit that when you enter the city on either Interstate, 40 or 25 — they meet smack in the middle — Albuquerque doesn’t look, shall we say, particularly picturesque. It seems like lots of strip malls and chain restaurants. But it has a stealth charm. Once you get into the neighborhoods, you realize it possesses a great amount of culture and history and natural beauty surrounding it.
      
Central Avenue is a great drive. A part of Route 66, it’s still dotted with old neon motel signs like that great Ernst Haas photo. There’s a great art gallery called Mariposa Gallery and a restaurant we love called Zinc.
      
The Sandias, the mountains to the east, are omnipresent. Take the cable car up to a restaurant called High Finance, which is a good place to eat. It’s stark beauty up there; you can see for hundreds of miles."      

Friday, September 2, 2011

NEWLY DISCOVERED ERNST HAAS COLOR PHOTOGRAPHS

Ernst Haas: America, 1978

A new book of recently discovered "new" color photographs by Ernst Haas has generated a lot of interest.

Ernst Haas is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century.

Ernst Haas: New York, 1980

He is most associated with a vibrant colour photography which, for decades, was much in demand by the illustrated press. This colour work, published in the most influential magazines in Europe and America, also fed a constant stream of books, and these too enjoyed great popularity. But although his colour work earned him fame around the world, in recent decades it has often been derided by critics and curators as “overly commercial”, and too easily accessible – or in the language of curators, not sufficiently “serious”. As a result, his reputation has suffered in comparison with a younger generation of colour photographers, notably Eggleston, Shore and Meyerowitz.

Paradoxically, however, there was also a side of his work that was almost entirely hidden from view. Parallel to his commissioned work Haas constantly made images for his own interest, and these pictures show an entirely different aspect of Haas’s sensibility: they are far more edgy, loose, complex and ambiguous – in short, far more radical than the work which earned him fame. Haas never printed these pictures in his lifetime, nor did he exhibit them, probably believing that they would not be understood or appreciated. Nonetheless, these works are of great complexity, and rival (and sometimes surpass) anything done at the time by his fellow photographers

Exhibition at London's Atlas Gallery September 14 - October 22

Prints available from Monroe Gallery of Photography

Wednesday, August 10, 2011

Ernst Haas: Color Corrections




Color Correction by Ernst Haas, published by Steidl / www.steidlville.com
California, USA, 1976

Out There
| By Kenneth Dickerman
Via Time LightBox

Born in 1921, Vienna’s Ernst Haas is considered by many to be one of the first true masters of color photography, Though he began his career working with black and white. Following the tradition established by Henri Cartier-Bresson, who focused heavily on the decisive moment and rich monochromatic tonality, Haas would receive worldwide recognition for his early work documenting the homecoming of Austrian prisoners of War. Haas eventually moved to color, favoring its ability to work in a more metaphoric, poetic vein that photographers like Saul Leiter and Eliot Porter were examining.

A significant amount of Haas’s output throughout his career landed in the pages of mainstream magazines such as Life, Look and Esquire. But in addition to this more commercial work, Haas was always making photographs for himself. It is these photographs that the German publisher Steidl has brought together for the new book, Ernst Haas: Color Corrections. The book shows mostly unseen work by Haas, work that is at once rich in color and texture as well as being more edgy and experimental than much of the work he became known for during his lifetime.

Haas’s Color Corrections will be released by Steidl in the United States this month.

 
California, USA, 1977


New Orleans, USA, 1960



New Mexico, USA, 1975


USA, circa 1970


USA, 1967


Brooklyn, New York, USA, 1952


New York, USA, 1974


Color Correction by Ernst Haas, published by Steidl / www.steidlville.com

 

Tuesday, July 12, 2011

Ernst Haas: Master of Colour



USA, 1967 by Ernst Haas


Via BBC News In Pictures

Phil Coomes

Picture editor
July 12, 2011

For many of us who came to photography in the 1970s or 80s it was black and white that drew us in, and in terms of press or documentary photography it called the shots.


There was of course plenty of colour work out there, particularly in the US, but it was an Austrian, Ernst Haas, who first grabbed my attention and showed me the power of colour photography.

Working with a 35mm camera and primarily on Kodachrome film he had an eye like no other. His pictures showed intense pools of colour and light. Were these really scenes from our world or creations of his mind? The answer was both.


Brooklyn, New York, USA, 1952 by Ernst Haas
Brooklyn, New York, USA, 1952 by Ernst Haas


Of course Haas was a big name and had been photographing in colour since the 1950s. His landmark exhibition at New York's Museum of Modern Art in 1962 was the first to challenge the rule of black and white photographs in the art world. Haas was riding high and continued to do so throughout his career.

Haas was one of the early members of Magnum Photos and photographed for Life Magazine among others. He also shot film stills and his book The Creation went on to sell more than 350,000 copies. He also produced a number of audio visual slideshows feeling you could say more with multiple images than a single frame, I reckon he'd do well today.

And yet in the forward to a new book, Color Correction, William A Ewing states that Haas' pictures were often seen as being too commercial and by the 1970s parts of the art world no longer championed him.

Ewing goes on to say: "His (Haas) work was also judged too simplistic, lacking in the complexities and ironies that marked the imagery of Haas' younger rivals, who were also busy forging a new language of colour. As a result, Haas's reputation has suffered in comparison with the leading lights of what came to be known as 'the New Colour', notably William Eggleston, Joel Sternfeld, Stephen Shore, and Joel Meyerowitz."

Yet alongside his commercial work Haas shot for pleasure, and it is a small number of these pictures that are reproduced in the book.



New Orleans, USA, 1960 by Ernst Haas
New Orleans, USA, 1960 by Ernst Haas

Ewing searched through around 200,000 of Haas' pictures held in the Getty Archive in London, spurred on by a nagging doubt that perhaps he had dismissed his work too readily. Ewing says that these pictures:

"Are far more edgy, loose, enigmatic, and ambiguous than his celebrated work. Most of these pictures he never even printed, let alone published, probably assuming that they were too difficult to be understood. These images are of great sophistication, and rival (and sometimes surpass) the best work of his colleagues."

Haas' desire to shape the world as he sees it through his colour work sits well today. For we accept the way a photographer's own views alter and manipulate the picture he or she takes, and no longer hold to the notice of objective reality. It's time to dust off his archives and let them be seen by another generation, for now you can enjoy the frames here.


California, USA, 1976 by Ernst Haas
California, USA, 1976 by Ernst Haas

I'll leave the last word to Haas:

"Bored with obvious reality, I find my fascination in transforming it into a subjective point of view. Without touching my subject I want to come to the moment when, through pure concentration of seeing, the composed picture becomes more made than taken. Without a descriptive caption to justify its existence, it will speak for itself - less descriptive, more creative; less informative, more suggestive - less prose, more poetry." Ernst Haas from About Color Photography, in DU, 1961, via Color Correction.


New Mexico, USA, 1975 by Ernst Haas
New Mexico, USA, 1975 by Ernst Haas

Color Correction by Ernst Haas published by Steidl






Wednesday, May 4, 2011

ERNST HAAS: New York: Magic City



Clouds and Skyline, New York, 1957


ERNST HAAS "NEW YORK, MAGIC CITY" IN PARIS

May 6 - June 4, 2011

Details here. (in French)

Gallerie Basai Embiricos

Gallerie Photo 12


Ernst Haas (1921-1986) is considered one of the most important photographers of the second part of the 20th century. Haas attended medical school in Austria, but, in 1947, left to become a staff photographer for the magazine Heute. His photo essay for the magazine on prisoners of war coming home to Vienna won him acclaim and an offer to join Magnum Photos from Robert Capa. Haas and Werner Bischof were the first photographers invited to join Magnum by the founders Capa, David "Chim" Seymour, Henri Cartier-Bresson, George Rodger and Bill Vandivert.

Haas moved to New York City and in 1953 produced a 24-page, color photo essay on the city for Life Magazine. Life then commissioned similar photo spreads on Paris and Venice. In 1962, the Museum of Modern Art mounted a one-man show of Haas' color photos. Haas' first photo book, Elements, was published the next year.

In 1964, film director John Huston hired Haas to direct the creation sequence for Huston's 1964 film, The Bible. Haas continued working on the theme, producing the photo book, The Creation in 1971. Other photography books by Haas included In America in 1975, a tribute to his adopted country for its bicentennial year; Deutschland in 1977; and Himalayan Pilgrimage in 1978. Other films that Haas worked on included The Misfits in 1961, Hello, Dolly! in 1969, Little Big Man in 1970, and Heaven's Gate in 1980. Haas also photographed a number of advertising campaigns for Marlboro cigarettes.

In 1986, Haas received the Hasselblad Award for his photography. He died September 12, 1986. (More here)

The Paris exhibitions are conducted under the direction of Victoria and Alex Haas will include a selection of previously unpublished photographs. It will include vintage prints, contemporary prints and dye transfer prints.

Related - New Book: Colour Correction by Ernst Haas, published by Steidl





The Cross, New York, 1966

Friday, July 16, 2010

ART SANTA FE OPENS

Monroe Gallery of Photograph Booth # 25

Thank you to all who visited us during last night's ART Santa Fe opening! We we very honored to welcome to our booth New Mexico Secretary of Cultural Affairs Stuart Ashman, who was accompanying a representative from the Cuban Minister of Cultural Affairs; Santa Fe Mayor David Coss; as well as several of our friends and collectors from across the United States.

This year Art Santa Fe celebrates its ten-year anniversary. Art Santa Fe is pleased to once again present this well-established event to the international contemporary art community as well as Santa Fe’s own art world, now the second largest art market in the country. As in the past, we expect exhibitors and visitors from across the U.S. and around the world. Monroe Gallery of Photography is located in Booth #25. This year we are exhibiting new photographs by Eric Smith from his series "The Ruins of Detroit"; new work from Stephen Wilkes' "Day Into Night" collection; a very rare large format print of Ernst Haas' iconic "Albuquerque (Route 66), 1969", and several other special selections.



Monroe Gallery is featuring a large-format print by Bill Eppridge of "Jackie Kennedy Christens the "Lafayette", Groton, CT, 1962" at Art Santa Fe, concurrent with his solo exhibition at the gallery


ART Santa Fe was the feature cover arcticle in today's PASATIEMPO, and  Art Santa Fe Director Charlotte Jackson said: "We're going to have 3 photo galleries, which I am really excited about. Monroe Gallery has been with us for many years. They've been a great supporter of ART Santa Fe, and they've become part of our 'family', if you will.... This year Verve has joined us and then Photo-Eye. I think we are going to have a very nice mix of photography".

Watch for updated posts from the Fair here over the weekend.