My Fascination with Lee Miller by Tosh Berman

 

My Fascination with Lee Miller

Tosh on William Klein (1926-2022)

 

Tosh on William Klein

"American Blood: Selected Writings 1961-2020 by Danny Lyon (Karma, 2021)

 

ISBN: 978-1-949172-45-4

Before reading Danny Lyon's "American Blood," I knew very little of this iconic photographer. I knew of his book "The Bikeriders" and that he is work-wise associated with Robert Frank's photographs and may be similar to Larry Clark, with respect to his "Tulsa." Like the other two, he is a photographer who captured a form of life in front of his camera lens. I also knew that he was very much an activist and involved in the Civil Rights Movement. Beyond that, he was a ghost to me. Every once in a while, a book would appear, but I sensed that he was a photographer/journalist who didn't compromise when it comes to his work. So in that sense, he reminded me of Frank and Clark. What I really didn't know is that Danny Lyon is a writer of great worth.  

Reading "American Blood" is like peeling an onion. The more I read these essays, interviews, and various writings, the more I get a sense of his character. When I read the first few essays, he struck me as someone who is not humorous and took things in life very seriously. One of the photographs in the book is the first photo he has ever taken. It's an image from Dachau, Hitler's first concentration camp, and it of a tree where the Nazis had taken Jews to be shot. A lot of the book deals with his time and thoughts on American prisons. Here was an artist who spent a great deal of time recording and acknowledging the horrors on this planet. 

At first, it was a bit too much for me. Still, I couldn't put the book down due to Lyon's character as well as his writing which I found beautiful because he avoids the easy answer or knuckle-head response to issues that were and still are important in American society. As one reads on, his world expands, and as a reader, you're going on the ride with him. His observant writing and stance make him unique because he articulates so well. He nails the prison system for what it is, an exploration factory and a landscape that is a world within a world. Lyon accepts people as if they are, not as he thinks they should be. His moral hatred for those in power and exploitation is apparent on these pages. As a photographer, it's interesting to acknowledge the difference between the digital and analog world. He doesn't like digital, but as the book goes on, he accepts certain aspects of that environment. For social justice, he acknowledges using a phone camera where one can capture a moment of distress or injustice, not just by one photographer. Lyon is the generation of the fellow who carries a heavy camera with him and deals with obtaining film, developing, having a darkroom, and the pros and cons of it. This is not a manual on how to take images. But more of a point-of-a-view of a creative soul who cares deeply about the world around him. Lyon cares about photography as an art and as a manner to explore one's world and record the injustices that take place around the planet. In such a way, Danny Lyon is very much a romantic adventurer. 

Robert Frank Film Works on Tosh Talks

"Otherwise Known as the Human Condition: Selected Essays and Reviews" by Geoff Dyer

ISBN: 978-1-55597-579-1 Graywolf Press

I'm a fan of a book of essays by particular writers. Not for the purpose of learning something new, but to be able to spend time with an author and his thoughts. If I don't like the author, I tend not to like the essays. I like Geoff Dyer. Therefore I like his book of essays "Otherwise Known as the Human Condition." What I like about him and his writings is that he has a great deal of interest in the world around him.

Besides being a literary critic, he also writes about photography, travel, and jazz. He's a writer who loves jazz. Boris Vian was a musician who wrote about jazz and was passionate about the subject, but far as I know, Dyer is not a musician. He has incredible insight into the music and is an excellent observer in what makes a jazz recording works or not work. The other great thing about his work is his brief memoirs that are towards the end of this volume. Personal, and very enticing invitation to his social world, and how he places himself in that landscape. There are also signs of his sexuality, not only to his attraction to women but apparently his attention to porn. He wrote a brief essay in this book regarding the hotel room, and how sexy such a room is to a gentleman. He also wrote about porn viewing in the hotel chambers. The fact that a hotel room is so clean (hopefully) makes it even more erotic. Nice observation on the nature of hotels.  

The book is large, and usually, I read a book of essays off and on. I tend to read three essays in a row, and put it down, and pick it up a month later. This book, I read from the first to the last page. As I mention, one of his great interests is in photography. And like his love for jazz, he is a viewer of photographs, without being a photographer. He has no interest in taking photos but enjoys writing on the subject. The distance between him and a passionate object is a right approach. At least for him. Nevertheless, Dyer is a fantastic writer. I enjoy dipping into his cosmos.  

- Tosh Berman

Dennis Hopper "Colors, The Polaroids" Essay by Aaron Rose (Damiani)

ISBN: 978-88-6208-476-5 Damiani

Dennis Hopper did many things. Known as an actor, filmmaker, artist, art collector, and photographer. His strongest fields for me, is his acting, photographs, and of course, his art collection. The two that stand out is his great sense of the eye for art and his understanding of that medium, whatever it's paintings, colleges or sculpture. He's also a fantastic photographer. The various books that have come out for the last ten or so years are all pretty good. He was always in the right place and time, and his camera/eyes recorded those moments magnificently. 

I have lived in Los Angeles for the most of my life, and I have seen and lived among graffiti walls, side of buildings and sidewalks for my entire adult life. One thing that never goes away in Los Angeles is graffiti. I hate it. For one reason, I love architecture, and I like how walls and concrete look like just a wall or a piece of concrete. The naked texture of the side of a wall is something of beauty to me. When someone paints on it, or use it as a canvas, I feel I'm cheated of the original vision of that structure. Writing this, I know I'm someone in the minority who sees graffiti, both as art and message board, as something of an eyesore for me. There are exceptions, of course, but 98% of the graffiti around Los Angeles is pretty depressing. Dennis Hopper felt another way about it.

"Colors The Polaroids" more likely were Dennis' research material of his making for the film he was about to make called 'Colors." The story of two LAPD cops dueling with the local street gangs. In preparation, Hopper went through his neighborhood of Venice California and elsewhere to document various gang graffiti. On a sociology level, graffiti is fascinating. It's a coded language within a particular group, as well as a message for other gangs. The act of covering up one's graffiti and replacing it with their writing has been a practice for decades. There is that, but Hopper is also looking at the graffiti as works of art, or paintings. As much as I loathe graffiti, there is clearly an aesthetic going on. It is a craft if not always an art. 

The Hopper book is interesting with the fact that he was recording these images for his film, but also a dual interest in it as painting. The way he photographs these walls - mostly shot closely and straight on, I can feel he loved the imagery of this world. Also that he used a Polaroid either means he wanted results right away and not wait for the images for a day or so (before digital photography of course), or he liked the instant playback and almost artless aspect of such a camera and its use. The truth is, the Polaroid is a highly aesthetic as well. It has its limitations, but that sometimes turns the artist onto that medium. Most of the writings on the side or wall have to be done quickly for their safety sake as well as not being caught by the cops or property owners - so in that sense, an instant camera serves the same purpose. You have one shot at it, and that's it. 

The introduction/essay by Aaron Rose is pretty good. For the hardcore Los Angeles citizen as well as being a fan of Dennis Hopper. Then the book is for you.

"Notes on Glaze: 18 Photographic Investigations" by Wayne Koestenbaum

ISBN: 978-1-932698-58-9 Cabinet Books

"Notes on Glaze: 18 Photographic Investigations" by Wayne Koestenbaum

I'm a fan of Wayne Kostenbaum's writing - especially when it is something like "Notes on Glaze."  The very interesting journal and publisher, Cabinet Books, had Koestenbaum do a regular column where they send him anonymous photographs and in turn, he would comment on them, or more in detail, he uses the series of images as a foundation to reflect ideas, culture, and a bit of memoir writing as well.   Not knowing their source or who took these photos, gives Koestenbaum the license to write short essays/commentaries on each image, and in a fashion, the photographs serve as an entrance way into the author's mind. 

While reading this book, I felt compelled to do my own version of "Notes on Glaze," using the same images.  Mine would be totally different from Koestenbaum, which strikes me as something profound.  What we are getting is not information about these 'abandoned' photos, but the process and results of Koestenbaum's thinking pattern and he develops these ideas to make commentary or narratives out of them.   So in a way, "Notes on Glaze" is a writer's notebook.   I think anyone who writes, would benefit from this book.  Not genius like, for instance Joe Barnaird's "I Remember," but still an important process and tool.  So along the lines of Brainard and Raymond Queneau's "Exercise in Style", this is very much a remarkable book. 

"The Ongoing Moment" by Geoff Dyer

ISBN: 978-1-4000-3168-9 Vintage

I tend to love books that dwell on a subject matter and ramble on afterwards.  Geoff Dyer's subject matter is photography and photographers.  Here he captures various moments by either European or more likely, American photographers at work.   The book really focuses on the works of Alred Stieglitz, Paul Strand, Walker Evens, André Kertész, Edward Weston, Dorothea Lange, Diane Arbus, and my personal fave, William Eggleston.  A lot of these photographers have focused on the same subject matter or weird visions of Americana as it was found or happened.   Personally I have never come upon a photo of a landscape or a park that doesn't make me feel sad.  In a sense, it's the passing of time or even death in certain situations.  What we have here is actually a very focused view on the photograph and its artists.   The one's I listed above, I think you can get a clear picture (no pun intended) of what this book is about.  Very enjoyable read, by a really good writer, on a subject matter that is sometimes hard to write about.  

- Tosh Berman

"ROADBOOK" BY Hunter Barnes (Reel Art Press)

ISBN: 978-1-909526-27-3 Reel Art Press

When you get down to it, the United States of America is a very odd country.   So large, with so many different cultures within its boundaries.  That, is probably what makes it a very interesting place.  Personally, it scares me to death.   Unless it's nature shots of parks, the seaside, and cute animals, the rest of the country is a fearful and haunted place.  "Roadbook" by Hunter Barnes captures what is scary to me, in other words, the human being.  

All of the black and white photographs are from the 21st century, but it could be any era in the States.  They say things change, but in certain parts of our world, nothing changed.   A series of images from Sammyville, Oregon is portraits of men with their guns.  Most are wearing their weapons as if it was the wild west - which the case may be in Sammyville.  One thing is clear. There will never be a ban on guns in this country.  There is no way in heaven or hell, that these guys and gals will give up their firearm.  It's not going to happen. Not in my lifetime nor if I have a kid, not in their lifetime either.  

Photographs by Hunter Barnes

Throughout the book, except on a section on really beautiful women in New York City (why in his right mind, would he leave the city?), we see life on the margins.   Motorcycle gangs in NYC, prisoners in CA State Prison, low riders in New Mexico, Black gang in East St. Louis, white Baptists, and rednecks.   Barnes captures the world quite well, because I suspect that these people accepted, or at the very least, trusted him.   As far as I know this wasn't a fast hello and goodbye project from Barnes, he actually spent time with these people.  The portraits show a relationship between the subject matter and the photographer.  I have always believed that a good picture is not just the image itself, but that the photographer knows the culture, and its people, and then the photograph can happen.  At least the good ones.  And this book is full of great portraits. 

As usual, the book is beautifully designed by the good people at Reel Art Press.   The design never gets in the way of the images by Barnes.  It serves the image.  

Photograph by Hunter Barnes

- Tosh Berman