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The 1939 edition of Robert Frost’s Collected Poems contained an introductory essay that wasn’t in the first edition. In that article, entitled “The Figure a Poem Makes,” Frost wrote, “Like giants we are always hurling experience ahead of us to pave the future with against the day when we may want to strike a line of purpose across it for somewhere.”

Though he didn’t know it at the time, acclaimed photographer Joel Meyerowitz began hurling his own experiences ahead of him in 1962. While working as an art director at an advertising agency, Meyerowitz met photographer Robert Frank who was shooting a clothing brochure. Meyerowitz watched Frank move while he photographed, and he had an incredible epiphany. On the way back to the office, Meyerowitz walked the streets of New York for more than an hour. “I felt like I was reading the text of the street in a way that I never had before,” he says.

When he returned to the office, Meyerowitz told his boss, Harry Gordon, that he was quitting. He wanted to be a photographer. Gordon then asked him a crucial question: did he have a camera? The answer was no, so Gordon lent him a 35mm camera and Meyerowitz embarked on the great journey of his life.

Over the next 50 years Meyerowitz exhibited at the MoMA, received a Guggenheim Fellowship, published books and taught photography at Cooper Union. But there was always one place where you had a chance to run into him and become immortalized in his gargantuan body of work. Meyerowitz is, first and foremost, a street photographer. Though he has shot street scenes in France, Germany, Atlanta, Ohio and dozens of places in between, the chaotic streets of New York City make up his favorite studio. “Fifth Avenue is my boulevard,” he says. “No street in the world, and I’ve traveled a lot, has for me the kind of sexy, improvisatory collisions between elegance and lowness. You can see bike messengers and models, billionaires and hustlers, and it’s all out there every day.”

That first day with Robert Frank served as more than just a catalytic inspiration; it laid the foundation for how Meyerowitz would record street life. He bobs and weaves through the throngs of people, searching for that serendipitous moment that becomes a great photograph. “The way someone makes a gesture on the street or the way couples react to each other or the simultaneity of two things happening at the same time and the relationship between them,” are some of the elements he looks for. “It was the wonder of human nature and this incredible capacity for things to keep showing themselves to me,” he says.

 Taking My Time (Phaidon Press, November 2012)

Phaidon Press

Joel Meyerowitz: Taking My Time (Phaidon Press. Limited Edition including signed print, November 2012)

When he is shooting on the street, there isn’t much time to contemplate each moment. “Photography takes place in a fraction of a second,” Meyerowitz says. “There isn’t a lot of time to think about things. You have to hone your instinct. You learn to hone that skill and timing so you’re in the right place at the right time.” Although he has made images that have moved audiences for decades, that has never been his true motivation. “I’m not out there to make another ‘great picture,’” he says. “I’m really out there to feel what it feels like to be alive and conscious in that moment. In a sense, the record of my photographs is a record of moments of consciousness and awareness that have come to me in my life.”

This year, the 50th anniversary of when he first took up the camera, Meyerowitz compiled hundreds of his favorite images for the two-volume collection, Joel Meyerowitz: Taking My Time (Phaidon Press). The project isn’t just a greatest hits collection. “It’s easy to make a book of your very best things and not necessarily have a narrative arc,” he says. “I wanted to stick strictly to the chronology as precisely as I could and show my own development.” The result is a visual biography of an artist who for half a century has snapped moments–fractions of seconds–and preserved them forever. Each tells a unique story that Meyerowitz has used to pave his life. Through the images of people and places and tiny moments in time, one can see a remarkable line of purpose he has created, one that runs fluidly across the experience of his life.

Joel Meyerowitz is a New York City-based photographer. Beginning Nov. 2, his work will be displayed in a two-part solo show at the Howard Greenberg Gallery in New York.

LightBox previously featured Meyerowitz’s photographs of the destruction and reconstruction at Ground Zero.

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Founders@Google Presents: The Cultural Anthropology of Stack Exchange

Google Tech Talk September 10, 2012 Presented by Joel Spolsky. ABSTRACT Software developers love Stack Overflow and know that it has a ... unique culture to it. But what isn't as well known is how the structure of the software and technology behind Stack Overflow is designed to help shape that community. We'll discuss some of the unique aspects of the Stack Overflow community, the basics of cultural anthropology, and how we've designed the sites to facilitate the community that our users ask for. Speaker Info: Joel Spolsky is an expert on software development, co-founder of Fog Creek Software, and the co-creator of stackoverflow.com. His website Joel on Software is popular with software developers around the world and has been translated into over thirty languages. He has written four books about software development, including Smart and Gets Things Done: Joel Spolsky's Concise Guide to Finding the Best Technical Talent (Apress 2007). Joel has worked at Microsoft, where he designed VBA as a member of the Excel team, and at Juno Online Services, developing an Internet client used by millions.
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Everybody-street

Alfred Steiglitz was a key player in the New York street photography scene from the beginning of the twentieth century. It’s his candid spectatorial of the big city’s spirit and people that has been the creative catalyst for many a photographer shooting on the streets today – and with them, the Everybody Street tribute film project by Cheryl Dunn. Featuring a cinematic compilation of interviews and photographs with those artists who dedicate themselves to the city today, it’s full of wonderfully honest, anecdote-heavy insights from great photographers like Joel Meyerowitz and Rocky Powell.

www.everybodystreet.com

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Among a group who legitimized color as a serious medium for art photographers in the 1970s and 1980s, Joel Sternfeld first came to prominence in 1987 with the publication of American Prospects. The book, which featured pictures taken on a series of road trips across the country, subtly documented underlying socioeconomic issues in America with irony and humor. Both poignant and formally beautiful, the images are now considered one of the most important works from the period, and the tome a landmark contribution to the history of American photography. American Prospects was the first of a number of highly regarded and influential books by Sternfeld, which also includes On This Site and Stranger Passing. And though First Pictures, published this month by Steidl, is the newest by the photographer, the book actually pays tribute to Sternfeld’s beginnings.

The book is comprised of Sternfeld’s formative work—mostly unseen until now—and brings further understanding and context to his oeuvre. Featuring Sternfeld’s images from 1971—when he first started taking color pictures — to 1980, First Pictures is broken down into four series: Nags Head, a North Carolina beach community; Rush Hour, street photography taken outside the Macy’s in New York City, At the Mall, taken in New Jersey and most interestingly, Happy Anniversary Sweetie Face, a disparate series of images taken during road trips across America, which serves as a direct precedent to American Prospects. At the time, Sternfeld was working with kodachrome and a 35mm camera rather than the 10×8 format that he would later use to fine tune his aesthetic. The book showcases work that would secure Sternfeld the first of two Guggenheim photography awards and lay the foundation for American Prospects as well as the work that followed. While some images are indicative of Sternfeld’s trademark style —a pastel color palette, compositions that place seemingly insignificant objects in the landscape to reflect a sometimes ironic, cynical or tragic situation, and a socially conscious eye—other photographs seem to relate more formally to the work of other color photographers such as William Eggleston or Helen Levitt.

First Pictures will be a fitting companion to writer and curator Sally Eauclaire’s three book series on color photography: New Color PhotographyAmerican Independents and  New Color New Work, published in the early 1980s, each of which placed Sternfeld’s images directly alongside that of other pioneers in color, including Steven Shore, Joel Meyerowitz and Eggleston. First Pictures goes back a little further and reveals how Sternfeld consciously reacted against the influence of some of his contemporaries—particularly Egglestone and his “poetic snapshots”—in order to create his own voice in color photography through narrative photographs that, individual and in sequence, speak not words or even phrases, but sentences, paragraphs and stories.

First Pictures, published by Steidl, is available now. An accompanying exhibition will be on display at Luhring Augustine gallery in New York from Jan. 7-Feb. 4 2012.

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Joel Meyerowitz was the only photographer with regular access to Ground Zero in the weeks and months following 9/11. As part of our Commemorative 9/11 issue, TIME commissioned Meyerowitz to venture back to Ground Zero and document the rapid changes at the site since late 2010. Meyerowitz was able to reflect on and even re-photograph many of the locations in his seminal work, Aftermath: World Trade Center Archive.

To see TIME’s 9/11 Commemorative issue visit Beyond 9/11:Portraits of Resilience.

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