PERSONS OF INTEREST

PO 2

Anna Magnani

10

Irving Penn

18

James Baldwin

26

Sister Cortia Kent

34

Agnes Varada

42

Donald Judd

50

Letizia Battagli

58

Eli Reed

66

Sylvia Plachy

74

Paolo Pellegrin

82

Renzo Piano

90

Teju Cole

98

Sonia Delauney

102

Luis Barragon

108

Lee Freidlander

118

Bodys Isek Kingelez

124

Tarsila Do Amaral

132

Alexey Brodivitch

140

Michaelangelo Antonioni

148

Georgia O’Keefe

156

Alvin Ailey

164

Franciose Truffaut

172

Guy Richie

180

Susan Meiselas

188

Zuzana Licko

196

Peter Zumthor

204

Annie Albers

212

Jean-Luc Dodard

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O

Lina Wertmuller

220

Massimo Vignelli

228

Zaha Hadid

236

Akira Kurosawa

244

Isamu Nogusch

252

Francis Ford Coppola

258

Seydou Keita

262

Diana Vreeland

270

Helen Levitt

278

Gertrude Stein

286

Lisette Model

294

Bridget Riley

298

Barbra Kruger

302

Shirin Neshat

310

Roy deCarava

318

Doug Wheeler

326

Elaine & Saul Bass

334

Twyla Tharp

342

Gilles Peress

350

Varvara Stepanova

358

Camile Walala

366

Richard Serra

374

Alexander Rodchenko

382

John Cohen

390

Frida Kahlo

398

John Cage

408

Bernice Abbott

416

Carrie Mae Weems

424

TABLE OF CONTENTS | PAGE ii

ANNA MAGNANI ACTRESS

Born in Rome, she worked her way through Rome’s Academy of Dramatic Art by singing at night clubs. During her career, her only child was stricken by polio when he was 18 months old and remained disabled. She was referred to as “La Lupa”, the “perennial toast of Rome” and a “living she-wolf symbol” of the cinema. Time described her personality as “fiery”, and drama critic Harold Clurman said her acting was “volcanic”. In the realm of Italian cinema, she was “passionate, fearless,

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and exciting,” an actress whom film historian Barry Monush calls “the volcanic earth mother of all Italian cinema.” Director Roberto Rossellini called her “the greatest acting genius since Eleonora Duse”. Playwright Tennessee Williams became an admirer of her acting and wrote The Rose Tattoo (1955) specifically for her to star in, a role for which she received an Academy Award for Best Actress, becoming the first Italian ever - and first non English speaking woman - to win an Oscar.

In 1933, Magnani was acting in experimental plays in Rome when she was discovered by Italian filmmaker Goffredo Alessandrini. [5] The couple married the same year.

Nunzio Malasomma directed her in her first major film role in The Blind Woman of Sorrento (La Cieca di Sorrento, 1934). Goffredo Alessandrini directed her in Cavalry (Cavalleria, 1936). For director Vittorio De Sica, Magnani starred in Teresa Venerdì (1941). De Sica called this Magnani’s “first true film”.

ANNA MAGNANI | PAGE 3

ANNA MAGNANI, CIRCA 1950 TAKEN BY BUD FRAKER

ANNA MAGNANI, “ WILD IS THE WIND” PAGE 4 | PERSONS OF INTEREST | ISSUE 1

ANNA MAGNANI | PAGE 5

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PERSON’S NAME | PAGE 9

MOVIE POSTER FOR MAMMA ROMA

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ANNA MAGNANI IN ANGELINA

PERSON’S NAME | PAGE 11

Irving Penn was an American photographer known for his fashion photography, portraits and still lifes. Born in Plainfield, New Jersey, to Russian immigrant parents, Penn studied under the acclaimed photographer and designer Alexey Brodovitch at the Philadelphia Museum School of Industrial Art. He then relocated to New York where he worked as an assistant to Brodovitch at Harper’s Bazaar, creating illustrations for a year. In 1941 he dedicated himself to painting for an entire year, traveling through

the southern United States and living in Mexico. Penn’s work initially had an ideal outlet on the pages of Vogue, where it was finely reproduced and widely disseminated. However, in the early 1950s, the editors began to feel that Penn’s photographs were too severe for the magazine, that they “[burned] on the page.” As a result, his assignments were reduced and he turned to advertising. Penn welcomed the challenges this new field offered, particularly in the areas of still life photography, and experimented

with strobe lights to produce dynamic images that revolutionized the use of photography in advertising. Penn’s creativity flourished during the last decades of his life.

His innovative portraits, still life, fashion, and beauty photographs continued to appear regularly in Vogue. During his lifetime, he established The Irving Penn Foundation, which grew out of the studio and whose devotion to Penn’s legacy is derived from contact with his remarkable spirit.

IRVING PENN PHOTOGRAPHER PAGE 10 | PERSONS OF INTEREST | ISSUE 1

IRVING PENN, IRVING PENN: CRACKED MIRROR, NEW YORK, 1986

PERSON’S NAME | PAGE 13

Black and hite Portrait of Jean Patchett Shot for1Vogue in 1949 | PERSONS | ISSUE PAGE 14 OF INTEREST

PERSON’S NAME | PAGE 15

PAGE 16 | PERSONS OF INTEREST | ISSUE 1 UNKNOWN PHOTOGRAPHER, IRVING PENN AT WORK IN CUZCO, 1948. © THE IRVING PENN FOUNDATION

PERSON’S NAME | PAGE 17 BALL DRESS BY OLIVIER THEYSKENS FOR NINA RICCI, NEW YORK, 2007

MOUCHE WITH GOLD NECK BAND, PARIS, 1969

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TRANSPARENT RAINCOAT (VERUSCHKA), NEW YORK, 1965

PERSON’S NAME | PAGE 19

JAMES BALDWIN WRITER | CIVIL RIGHTS ACTIVIST

James Baldwin was born in Harlem in 1924. The oldest of nine children, he grew up in poverty, developing a troubled relationship with his strict, religious stepfather. As a child, he cast about for a way to escape his circumstances. As he recalls, “I knew I was black, of course, but I also knew I was smart. I didn’t know how I would use my mind, or even if I could, but that was the only thing I had to use.” By the time he was fourteen, Baldwin was spending much of his time in libraries and had found his passion for writing.

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During the last ten years of his life, he produced a number of important works of fiction, non-fiction, and poetry. He also turned to teaching as a new way of connecting with the young.

By 1987, when he died of stomach cancer at age 63, James Baldwin had become one of the most important and vocal advocates for equality. From Go Tell It on the Mountain to The Evidence of Things Not Seen (1985), James Baldwin created works of literary beauty and depth.

PHOTOGRAPH BY TED THAI/THE LIFE PICTURE COLLEC-

JAMES BALDWIN BY TED THAI

JAMES BALDWIN | PAGE 19

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PERSON’S NAME | PAGE 23

—JAMES BALDWIN

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COLLECTION OF THE SMITHSONIAN NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE, GIFT OF THE BALDWIN FAMILY

Neither love nor terror makes one blind: indifference makes one blind.

PERSON’S NAME | PAGE 25

CAPTION ST YLE WOULD BE LIKE THIS FOR EACH IMAGE

James Baldwin, 1963

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JAMES BALDWIN | PAGE 25

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ANNA MAGNANI, CIRCA 1950 TAKEN BY BUD FRAKER

SISTERCORITA KENT GRAPHIC DESIGNER

Corita Kent (1918–1986) was an artist, educator, and advocate for social justice. At age 18 she entered the religious order Immaculate Heart of Mary, eventually teaching and then heading the art department at Immaculate Heart College. During the course of her career, her artwork evolved from using figurative and religious imagery to incorporating advertising images and slogans, popular song lyrics, biblical verses, and literature. Throughout the ‘60s, her work became increasingly political, urging viewers to

consider poverty, racism, and social injustice. In 1968, she left the order and moved to Boston.

After 1970, her work evolved into a sparser, introspective style, influenced by living in a new environment, a secular life, and her battles with cancer. She remained active in social causes until her death in 1986. At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions. After a cancer diagnosis in the early 1970s, she entered an

extremely prolific period in her career, including the Rainbow Swash design on the LNG storage tank in Boston, and the 1985 version of the United States Postal Service’s special Love stamp. In recent years, Corita has gained increased recognition for her role in the pop art movement.

Critics and theorists previously failed to count her work as part of any mainstream “canon,” but in the last few years there has been a resurgence of attention given to Kent. She social commentary promoted love and tolerance.

SISTER CORITA KENT | PAGE 27

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PIG-PEN, SERIGRAPH, 1967

MAD FOR EACH OTHER, SERIGRAPH, 1967

PERSON’S NAME | PAGE 31

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N IS FOR CAUTION, SERIGRAPH, 1968

P IS FOR PALM, SERIGRAPH, 1968

PERSON’S NAME | PAGE 33

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| PAGE1966 APPLES ARE BASIC, PERSON’S NAME 35 SERIGRAPH,

AGNES VARDA FILM MAKER

Agnès Varda was born in Belgium and a french film director, screenwriter, artist, and photographer.

She was the third sibling out of 5 children. She legally changed her name to Agnès when she was 18.

Her family lived on a boat in Sète all together. Varda attended Lycée et collège Victor-Duruy and graduated with a bachelor’s degree in Literature and psychology.

While in Paris she had a bad time settling and it was an “excruciating” time for her. Her films were focused on documentary realism, women’s issues, and other societal PAGE 34 | PERSONS OF INTEREST | ISSUE 1

commentary. Her sets were made all indoors and she was very experimental. She used amateur actors which was very uncommon at the time. Varda’s first film was La Pointe Courte (1955). Notable films include Vagabond (1985), Kung Fu Master (1988). Varda intended on being a museum curator but attended Vaugirard School of Photography instead.

Her cinematic work and photographic work are heavily intertwined. She worked as a stage photographer and then got hired

by Théâtre National Populaire.

After her reputation grew she was hired as a photojournalist all around Europe. Her protagonists were marginalized members of society. She was inspired by auteur theory and used her camera as a “pen”. She was heavily involved in the French New Wave Movement. Rather than separating the fundamental roles that contribute to a film (such as cinematographer, screenwriter, and director), she believed that all roles should work together simultaneously to create a more cohesive film, and all elements of the film contribute

AGNES VARDA | PAGE 35

AGNES VARDA WITH CAMERA

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AGNES VARDA | PAGE 37

AGNES VARDA DOCUMENTARY, AGNES VARDA WITH BUDDHIST, AGNES VARDA WITH CAMERA

CHILDREN GOGGLES AND MASKS| ISSUE 1 PAGE 6 |WITH PERSONS OF INTEREST

PERSON’S NAME | PAGE 7

TWO PEOPLE ON A BEACH. A CHILD RUNNING PAGE 40 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 9

DONALD JUDD ARCHITECT

Donald Judd was an American Minimalist artist born in 1928 in Missouri. Judd was an army engineer from 1946-1947 and in 1948 enrolled in the College of William and Mary. He transferred to Columbia University where he graduated with a bachelor degree in philosophy and worked towards a master’s degree in art history.

He bought a five-story cast iron building on Spring Street and used that as his residence and studio. He began as an expressionist painter. From 1950s-1961 he started to explore the medium of PAGE 42 | PERSONS OF INTEREST | ISSUE 1

woodcut where he became more and more abstract. By 1963 he established his shapes and what he worked with using ‘stacks’, ‘boxes’, and ‘progressions’. He used repeated forms to explore space and the use of space and desired autonomy and clarity for the object in the environment.

He mainly used metals, plywood, concrete, and plexiglass. His art was exhibited in many museums including the Jewish Museum, Whitney Museum, etc. He started having more personal gallery shows in his building in SOHO.

Donald Judd distorded image

DONALD JUDD | PAGE 43

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PERSON’S NAME | PAGE 45

DONALD JUDD ARCHITECTURE, DONALD JUDD IN CONCRETE ROOM

DONALD JUDD PAINTINGS IN GALLERY, DONALD JUDD PAINTING PAGE 46 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 15

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DONALD JUDD SCULPTURES

PERSON’S NAME | PAGE 49

Letizia Battaglia is an Italian photographer and was born in Palermo, Sicily. She took up photojournalism after her divorce. She had to support three daughters and was able to sell her articles better if she added pictures. In 1974 she met her partner Franco Zecchin and worked for the left wing newspaper L’Ora. She documented the control and torture the mafia had over italian society. She captured a lot of deaths caused by the Mafia. She wanted to document the Mafia to show how they negatively affected so-

ciety. She was worried that she would get assassinated by the Mafia because she was exposing their corruption. On top of the Mafia she became involved in Women’s and environmental issues. She stopped taking pictures and became heavily involved in politics.

She had a seat on the Palermo city council for the Green Party. the police searched Battaglia’s archives and found two 1979 photographs of Andreotti with an important Mafioso, Nino Salvo, he had denied knowing Aside from the accounts of turncoats,

these pictures were the only physical evidence of this powerful politician’s connections to the Sicilian Mafia. Battaglia herself had forgotten having taken the photograph. Its potential significance was apparent only 15 years after it was taken. Her other ventures included a women’s magazine, a publishing house and a photography school She had 8 major gallery exhibitions. She also had 4 films. Battaglia received 4 awards including Cornell Capa Infinity Award, Dr. Erich Salomon award, etc.

LETIZIA BATTAGLIA PHOTOGRAPHER PAGE 50 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 19

LETIZIA BATTAGLIA REFLECTED

GIRL IN BALLROOM, PERSON IN MASK WITH GUN PAGE 52 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 21

The mafia is stronger than ever, it’s just different.

—LETIZIA BAT TAGLIA

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MOTHER HOLDING CHILDREN WHILE COP WALKS BY LEITIZIA BAT TAGALIA | PAGE 55

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PERSON’S NAME | PAGE 57

CAPTION ST YLE WOULD BE LIKE THIS FOR EACH IMAGE

ELI REED PHOTOGRAPHER

Eli Reed was an American photographer and photojournalist born in 1946 in New Jersey. He was the first full-time black photographer and worked at Magnum Agency.

He took his first photograph at age 10. He is mostly self-taught but credits his mentor Donald Greenhaus. He graduated from Newark School of Fine and Industrial arts studying illustration.

He became a freelance photographer in 1970. Magnum associated with him and his success with the documentation of the wars in Central America, Lebanon, PAGE 58 | PERSONS OF INTEREST | ISSUE 1

etc. He became a full member of Magnum in 1988. He started making photographs of films and actors in 1992. He taught in numerous places including Miami University, New York University, Columbia University, etc. He has received many awards including W. Eugene Smith Grant in Documentary Photography, Kodak World Image Award for Fine Art Photography, Leica Medal of Excellence, etc. His most recent award being 2011 Lucie Foundation Award for Documentary Photography popular books ELI BROWN DISTORTED IMAGE

DONALD JUDD | PAGE 59

TWO KIDS IN A POOL, THREE FAMOUS ACTORS PAGE 60 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 29

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ELI REED | PAGE 63

PEOPLE DOING HANDSTANDS IN A CIRCLE, GUY ON SIDE OF BOXING RING, THREE MEN

| PERSONS PAGE UP 32 OF OF INTEREST | ISSUE 1 CLOSE A MAN

PERSON’S NAME | PAGE 33

SYLVIA PLACHY PHOTOGRAPHER

Sylvia Plachy, born in Budapest, lives in New York. She has had her own shows at the Minneapolis Institute of Arts, the Whitney Museum at Philip Morris in New York, the Queens Museum, and in galleries in Homer, Budapest, Paris, Rome, Berlin, Tokyo, New York, Manchester, Madrid, Perpingnon and Pingyau.

Formerly staff photographer for PAGE 66 | PERSONS OF INTEREST | ISSUE 1

The Village Voice, she is now a contributing photographer at the New Yorker. Her photographs have appeared in the New York Times, Fortune, Grand Street, New York Magazine and in many other magazines. She is a Guggenheim fellow and the recipient of Lucie Award. Her photographs are in private collections and also in the MoMA in NY, the

Houston Museum of Fine Arts, and the SF Museum.

Ms. Plachy has had six books published: Signs And Relics, 2000; Red Light, 1996; Unguided Tour, 1990, winner of the Infinity Award for best publication; Self Portrait With Cows Going Home, 2004, winner of the Golden Light Award for best book; De Reojo/Out Of The Corner Of My Eye, 2007.

SYLVIA PLACHY | PAGE 67

PORTRAIT OF SYLVIA PL ACHY

PAGE 68 | PERSONS OF INTEREST | ISSUE 1 TOP LEFT: YOUNG ADIREN BRODY;

GULL BITE, 1982

BOT TOM LEFT: ADRIEN BRODY AS RICHIE RUDE, 1998

SYLVIA PLACHY | PAGE 69

TOP RIGHT: GABRIELLE, 1981;

BOT TOM RIGHT: GRANDMA AND GRANDPA , 1979

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LEFT: NEW YORK CITY, SEPT 11, 2001; ABOVE: L AKE KIVU, DEMOCRATIC REPUBLIC OF CONGO, 2005 SYLVIA PLACHY | PAGE 71

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LEFT: BACKSEAT, 1980; TOP RIGHT: LULU, 1972; BOT TOM RIGHT: LOVE IN THE AFTERNOON, 1982

SYLVIA PLACHY | PAGE 73

Paolo Pellegrin is one of the world’s leading photojournalists who has documented many of this generation’s major disasters and conflicts, from revolutions to wars to tsunamis. Pellegrin wishes his work to “create a bridge…to use photography to say something that goes beyond the surface, that vibrates, that resonates.” This approach has lead him to photograph in Lebanon, Iran, Palestine, Romania, Afghanistan, Libya, Cuba, the United States, Mali, Egypt, Algeria, Haiti, Tunisia, and Indonesia.

Pellegrin was born in 1964 in Rome. He studied architecture at L’Università la Sapienza, Rome, before studying photography at L’istituto Italiano di Fotografia.

Between 1991 and 2001 Pellegrin was represented by Agence VU in Paris. He was a contract photographer for Newsweek for ten years.

He has been published in many leading publications including TIME magazine, The New York Times, Newsweek and the New York Times Magazine, where he has photographed more than

ten cover stories with reporter Scott Anderson. Pellegrin is a winner of many awards, including ten World Press Photo awards and numerous Photographer of the Year awards, a Leica Medal of Excellence, an Olivier Rebbot Award, the Hansel-Meith Preis, and the Robert Capa Gold Medal Award. In 2006, he was assigned the W. Eugene Smith Grant in Humanistic Photography.

PAOLO PELLEGRIN PHOTOGRAPHER PAGE 74 | PERSONS OF INTEREST | ISSUE 1

PORTRAIT OF PAOLO PELLEGRIN PAOLO PELLEGRIN | PAGE 75

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BL ACK SMOKE RISES ABOVE THE BURNING OIL FIELDS AROUND QAYYARAH, SOUTHEAST OF MOSUL, MOSUK, IRAQ, 2016 PAOLO PELLEGRINI | PAGE 77

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ABOVE: KURDISH PESHMERGA MOURN THE DEATH OF A COMPANION, KILLED BY AN ISIS SNIPER. MOSUL, IRAQ, 2016 LEFT: GUANTÁNAMO BAY U.S. NAVAL BASE & DETENTION CENTER. CUBA , 2012 BELOW: ARMED CIVILIANS PATROL A VILL AGE NEAR MASCARA BY NIGHT TO PROTECT IT FROM RADICAL ISL AMIC FACTIONS, ALGERIA , 2001

PAOLO PELLEGRINI | PAGE 79

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UN’ANTOLOGIA EXHIBIT, 2018-2019 IMAGE BY VINCENZO L ABELL ARTE

PAOLO PERSON’S PELLEGRIN NAME | PAGE 17

RENZO PIANO ARCHITECT

Renzo Piano was born in Genoa in 1937 into a family of builders. While studying at Politecnico of Milan University, he worked in the office of Franco Albini.

In 1971, he set up the “Piano & Rogers” office in London together with Richard Rogers, with whom he won the competition for the Centre Pompidou. He subsequently moved to Paris. From the early 1970s to the 1990s, he worked with the engineer Peter Rice, sharing the Atelier Piano & Rice from 1977 to 1981.

The “Renzo Piano Building PAGE 82 | PERSONS OF INTEREST | ISSUE 1

Workshop” was established in 1981 and has since grown to 150 staff, with offices in Paris, Genoa, and New York. He has received numerous awards and recognitions among which: the Royal Gold Medal at the RIBA in London (1989), the Kyoto Prize in Kyoto, Japan (1990), the Goodwill Ambassador of UNESCO (1994), the Praemium Imperiale in Tokyo, Japan (1995), the Pritzker Architecture Prize at the White House in Washington (1998), the Leone d’oro alla Carriera in Venice (2000), the Gold

Medal AIA in Washington (2008) and the Sonning Prize in Copenhagen (2009). In 2004 he also founded the Renzo Piano Foundation, a non-profit organization dedicated to the promotion of the architectural profession through educational programs and educational activities.

In September 2013 Renzo Piano was appointed senator for life by the Italian President Giorgio Napolitano and in May 2014 he received the Columbia University Honorary Degree.

RENZO PIANO | PAGE 83

PORTRAIT OF RENZO PIANO

TOP: CALIFORNIA ACADEMY OF SCIENCE ROOF AND INTERIOR; PAGE 84 | PERSONS OF INTEREST | ISSUE 1

BOT TOM LEFT: CAS INTERIOR;

BOT TOM RIGHT: CAS EXTERIOR

ABOVE: CALIFORNIA ACADEMY OF SCIENCE BLUEPRINTS;

BELOW: CALIFORNIA ACADEMY OF SCIENCE

RENZO PIANO | PAGE 85

PAGE 86 | PERSONS OF INTEREST | ISSUE 1 BOT TOM: THE WHITNEY MUSEUM BLUEPRINTS;

TOP: THE WHITNEY MUSEUM EXTERIOR

RENZO PIANO | PAGE 87

BOT TOM: THE WHITNEY MUSEUM BLUEPRINTS;

TOP: THE WHITNEY MUSEUM EXTERIOR PHOTOGRAPHED BY NIC LEHOUX

PAGE 88 | PERSONS OF INTEREST | ISSUE 1 BELOW LEFT & RIGHT: CENTRE POMPIDOU BLUEPRINTS; TOP: CENTRE POMPIDOU

RENZO PIANO | PAGE 89

LEFT: CENTRE POMPIDOU BLUEPRINT

RIGHT: CENTRE POMPIDOU INTERIOR BY NIKOLPETR/SHUT TERSTOCK

Teju Cole is a novelist, photographer, critic, curator, and the author of several books. He was the photography critic of the New York Times Magazine from 2015 until 2019. He is currently the Gore Vidal Professor of Creative Writing at Harvard. Teju Cole was born in the US in 1975 to Nigerian parents and was raised in Lagos. He currently lives in Cambridge, MA. Teju Cole has contributed to the New York Times, the New Yorker, Granta, Brick,

and many other magazines. His photography column at the New York Times Magazine, “On Photography,” was a finalist for a 2016 National Magazine Award.

There have been solo exhibitions of his photography in Italy, Iceland, India, Italy, Germany, Switzerland and the US. He gave the 2014 Kenan Distinguished Lecture in Ethics at Duke University, the 2015 Susan D. Gubar Lecture at Indiana University, and the 2016 Spui25 Lecture at

the University of Amsterdam.

He was awarded the 2015 Windham Campbell Prize for Fiction, a 2015 US Artists award, and a 2018 Guggenheim Fellowship.

He was a Poynter Journalism Fellow at Yale University in 2018.

He serves as a board member for several periodicals and arts organizations, and has participated in many literary and photography juries, including the 2021 Images Vevey Grand Prix, of which he was jury president.

TEJU COLE WRITER | ART HISTORIAN | PHOTOGRAPHER PAGE 90 | PERSONS OF INTEREST | ISSUE 1

PORTRAIT OF TE JU COLE PERSON’S NAME | PAGE 27

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BEIRUT FROM BLIND SPOT

I peeked into a house in Mar Mikhael for a moment. A black woman was sweeping a stone floor. At the threshold was an image of the Holy Virgin.

I saw many black women in Beirut. Those of them in domestic em-ployment, when out on the street, carrying their employers’ children or not, walk behind. Their servitude, their inequality, is made visible. Many of these women are Ethiopian (Ethiopian men are few in Beirut, though male Sudanese laborers are plentiful). The Ethiopian women are hired because they are Christian and English-speaking, desirable qualities in nannies. On Saturday nights, they have semisecret nightclubs away from the glitzy areas. In these clubs (I visited two) they socialize with one another, and with Lebanese, Syrian, and Sudanese men, dancing to Ethiopian, Arabic, and Nigerian music. They are dressed to the nines, their hair is done, and they wear high heels.

They look nothing like they do when they are with their employers. And on Sundays, on their day off, you can see them on the street in groups, in white, flowing through the street, their spirits shining from having attended church, the condition of servitude briefly lifted.

Many of these women are in Lebanon illegally. When they wish to return home, they have to raise enough money to cover the costs of their deportation-transportation as well as fines. When the money is raised, they turn themselves in to the nearest police officer, and, after a brief spell in jail, they are deported.

TEJU COLE | PAGE 93

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TEJU COLE | PAGE 95

LEFT: FERHWEH FROM BLIND SPOT;

RIGHT: NEW YORK CITY FROM BLIND SPOT

PAGE 96 | PERSONS OF INTEREST | ISSUE 1 LEFT: NEW YORK CIT Y FROM BLIND SPOT; ABOVE: BROOKLYN FROM BLIND SPOT

TEJU COLE | PAGE 97

SONIA DELAUNAY PAINTER | TEXTILE DESIGNER

Sonia Delaunay was born Sarah Stern (nicknamed Sonia) in Ukraine, where her father was a factory worker. At five, she went to live with a wealthy uncle in St. Petersburg and took his surname, Terk. She studied art in Karlsruhe, Germany, and beginning in 1905, in Paris, where she spent most of the rest of her life. In 1910, she married the French painter Robert Delaunay, with whom she had a son. Together, husband and wife developed Orphism, PAGE 98 | PERSONS OF INTEREST | ISSUE 1

also called Simultaneism, an artistic style that prized color over form. Like Cubism, Delaunay’s imagery is abstracted. Yet, unlike the largely monochrome Cubist art of Pablo Picasso and Georges Braque, Delaunay’s works consist of bright hues and bold, repeating patterns inspired by Fauve painters, like Henri Matisse. In 1918, she designed her first costumes for Sergei Diaghilev’s famous Ballets Russes. Delaunay also collaborated with couturiers and designed

shop interiors and the fashions within. In 1937, she and her husband created large-scale murals for the Air and Railroad pavilions at the Paris World’s Fair. Delaunay was highly successful and had numerous solo and group exhibitions during her lifetime.

She was also honored with many awards, such as the French Légion d’Honneur (1975), Chevalier des Arts et Lettres (1958), and a gold medal for her two murals at the Paris World’s Fair (1937).

SONIA DELAUNAY | PAGE 99

SONIA DEL AUNAY IN HER ATERLIER SIMULTANÉ, PARIS 1924

MODELS IN FRONT OF CITROËN B12 DECORATED BY SONIA DEL AUNAY, PARIS 1928

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PERSON’S NAME | PAGE 5

Luis Ramiro Barragán Morfín (1902 – 1988) was a Mexican architect and engineer who won the Pritzker Prize in 1980. His work is often quoted about minimalist architecture despite the use of color due to the architectural ideas of forms and spaces which Barragán pioneered. Barragán’s influence can be seen in many of Mexico’s contemporary architects, especially in Ricardo Legorreta’s projects. His professional training was in engineering, resulting in a degree at the age of twenty-three. His archi-

tectural skills were self-taught.

In the 1920s, he traveled extensively in France and Spain and, in 1931, lived in Paris for a time, attending Le Corbusier’s lectures. His time in Europe, and subsequently in Morroco, stimulated an interest in the native architecture of North Africa and the Mediterranean, which he related to construction in his own country. In the late 1920s, he was associated with a movement known as the Escuela Tapatía or Guadalajara School, which espoused a theory of architecture

dedicated to the vigorous adherence to regional traditions. His architectural practice was based in Guadalajara from 1927 until 1936, when he moved to Mexico City and remained until his death. A religious man, Barragán and his work have been described as “mystical” as well as serene. His chapel for the Capuchinas Sacramentarias is evidence of both qualities. He designed many stables, fountains, and water troughs that manifest many of these same qualities because of his horses’ interest.

LUIS BARRAGAN ARCHITECT PAGE 102 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 7

Any work of architecture which does not express serenity is a mistake.

—LUIS BARRAGAN

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PERSON’S NAME | PAGE 9

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LUIS BARRAGAN | PAGE 107

LUIS BARRAGAN VARIOUS ARCHITECTURAL STRUCTURES

LEE

FRIEDLANDER PHOTOGRAPHER

Lee Friedlander, known for his social landscape and nostalgic photography was born on 14th July 1934 in Aberdeen, Washington.

He graduated from high school in 1952 and moved to Los Angeles.

Friedlander attended Art Centre College of Design, Pasadena, California to study photography under Edward Kaminski from 1953 to 1955. In 1956, he moved to New York, in order support himself he started doing photographs of jazz musician for record jackets like Count Bessie (1957). Eugène PAGE 108 | PERSONS OF INTEREST | ISSUE 1

Atget, Robert Frank and Walker Evans inspired his early work; mainly black and white stills. In 1958, Lee Friedlander experimented with gelatin dry-plates negatives and made prints.. From 1960’s, Friedlander started shooting his stills as “social landscapes” of different places of U.S.A. Urban life, signs and hoardings, fences-framed structures, all depicting the look of moderns society. These images of Newark, New Jersey, are nostalgic, at times depressing, and full of depth.

LEE FRIEDLANDER, HAVERSTRAW, NY, 1966

LEE FRIEDLANDER | PAGE 109

ABOVE: LEE FRIEDLANDER, NEW ORLEANS, 1969; RIGHT: LEE FRIEDL ANDER, NEW YORK CIT Y, 1980 PAGE 110 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 15

I always wanted to be a photographer.

I was fascinated with the materials.

But I never dreamed I would be having this much fun.

I imagined something much less elusive, much more mundane.

—LEE FRIEDLANDER

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PERSON’S NAME | PAGE 17

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LEE FREIDLANDER | PAGE 115

(RIGHT) (LEFT) PHOTOGRAPHING THE AMERICAN PSYCHE 1962- 1977

(LEFT) THE LIT TLE SCREENS, 1964 (RIGHT) SELF PORTRAIT 1968 PAGE 116 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 21

BDODYSISEK KINGSLEY SCULPTOR

Bodys Isek Kingelez or Jean Baptiste was a Congolese sculptor and artist known for his models of fantastic cities, made of cardboard, paper, tape, and other commonplace materials. He was born in the Belgian, congo on August 27, 1948, where he lived and studied for most of his childhood After graduating from secondary school he moved to Kinshasa in PAGE 118 | PERSONS OF INTEREST | ISSUE 1

1970. There Until 1977 he studied part-time and supported himself by teaching at a school. He was hired by the National Museum in Kinshasa as an art restorer, particularly in the restoration of African masks, until 1985 when he began to pursue the sculpture-centric practice he would later be known for full-time.

PERSON’S NAME | PAGE 3

BODYS ISEK KINGELEZ ,VILLE FANTÔME,”( 1996)

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BODYS ISEK KINGELEZ ,VILLE FANTÔME,”( 1996) VIA

BODYS ISEK KINGELEZ | PAGE 121

BODYS ISEK KINGELEZ ,SIDA” (1996)

“Without a model, you are nowhere.

A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live,” PAGE 6 | PERSONS OF INTEREST | ISSUE 1

- BODYS ISEK KINGELEZ

| PAGE 7 PERSON’S NAME BODYS ISEK KINGELEZ

BODYS ISEK KINGELEZ “KINSHASA L A BELLE,” (1991) BODYS ISEK KINGELEZ ,DETAIL OF “ VILLE DE SÈTE 3009,”2000

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BODYS ISEK KINGELEZ ,DETAIL OF “ VILLE DE SÈTE 3009,”2000 BODYS ISEK KINGELEZ ,DETAIL OF “ VILLE DE SÈTE 3009,”2000

PERSON’S NAME | PAGE 9

TARSAILADO AMARAL PAINTER

Tarsila de Aguiar do Amaral; 1 September 1886 – January 1973 was a Brazilian painter, draftswoman, and translator. She is considered one of the leading Latin American modernist artists, and is regarded as the painter who best achieved Brazilian aspirations for nationalistic expression in a modern style.As a member of the Grupo dos Cinco, Tarsila is also considered a maPAGE 124 | PERSONS OF INTEREST | ISSUE 1

jor influence in the modern art movement in Brazil, alongside Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade. She was instrumental in the formation of the aesthetic movement, Antropofagia (1928–1929); in fact, Tarsila was the one with her celebrated painting, Abaporu, who inspired Oswald de Andrade’s famous Manifesto Antropófago.

MICHAELANGELO ANTONIONI | PAGE 207

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MICHAELANGELO ANTONIONI | PAGE 209

LEFT: TARSAIL A DO AMARAL, ABAPORU; RIGHT: TARSAIL A DO AMARAL,ANJOS

TARSAIL A DO AMARAL, O VENDEDOR DE FRUTAS (1925)

TARSAIL A DO AMARAL, SOL POENTE, (1929)

MICHAELANGELO ANTONIONI | PAGE 211

PAGE 212A |DO PERSONS OF INTEREST ISSUE 1 TARSAIL AMARAL, A CUCA , |(1924)(

MICHAELANGELO ANTONIONI | PAGE 213

ALEXEY BRODOVITCH

GRAPHIC DESIGNER

Alexey Brodovitch is known foremost for his work on the american fashion-magazine Harper’s bazaar. Born in Ogolitchi, Russia in 1898 in an aristocratic and wealthy family, Brodovitch’s youth was marked by the bolshevik revolution. Being a loyal supporter of the tsar, he became first lieutenant in the czar’s White Army. In 1920 he fled to Paris as an exile from the October Revolution. Like many other emigrés whom had gained wealth in RusPAGE 132 | PERSONS OF INTEREST | ISSUE 1

sia, he ended up being both poor and workless. For the first time in his life he had to work to gain money. Living in Montparnasse, he found himself in a community of russian artists, which lead to his wish to become a painter.

While his work was sought after in europe As expected his work didn’t go unnoticed in America.

The photographer Ralph Steiner who worked for Harper’s Bazaar, recognized the potential of Brodovitch as a designer. He in-

troduced him to Carmel Snow, editor-in-chief of the magazine whom immediately offered him a job.Brodovitch created a harmonious and meaningful whole using avant-garde photography, typography and illustration. After being hired he asked several old friends like Man Ray, Jean Cocteau, Raoul Dufy, Marc Chagall and A.M. Cassandre to work for the magazine. Cassandre created several of the Bazaar covers between 1937 and 1940.

TARSILA DO AMARAL | PAGE 215

PAGE 216 | PERSONS OF INTEREST | ISSUE 1 HERBERT BAYER, COLLEGE FASHIONS, COVER FÜR HARPER’S BAZAAR, 1940

THE ULTRA VIOLETS ARTICLE HARPER’S BAZAAR, PHOTOGRAPHS RICHARD AVEDON PUBLISHED IN THE L AST ISSUE DIRECTED BY ALEXY BRODOVITCH 1958

TARSILA DO AMARAL | PAGE 217

ALEXEY BRODOVITCH, TWIST AND TURN AS YOU WILL, JUNIOR BAZAAR, JANUARY 1947, PHOTOS: GEORGE BARKENTIN

(RIGHT) ALEXEY BRODOVITCH, GRAPHISME, PARIS, 1930 PAGE 220 | PERSONS OF INTEREST | ISSUE 1

TARSILA DO AMARAL | PAGE 221

MICHELANGELO ANTONIONI

DIRECTOR

Together with Fellini, Bergman and Kurosawa, Michelangelo Antonioni is credited with defining the modern art film. And yet Antonioni’s cinema is also recognized today for defying any easy categorization, with his films ultimately seeming to belong to their own distinctive genre. Indeed, the difficulty of precisely describing their category is itself the very quintessence of Antonioni’s films. Among the most-cited conPAGE 140 | PERSONS OF INTEREST | ISSUE 1

tributions of Antonioni’s cinema are their striking descriptions of that unique strain of post-boom ennui everywhere apparent in the transformed life and leisure habits of the Italian middle and upper classes. Detecting profound technological, political and psychological shifts at work in postWWII Italy,Antonioni set out to explore the ambiguities of a suddenly alienated and dislocated Italy, not simply through his oblique

style of narrative and characters, nor through any overt political messaging, but instead by tearing asunder the traditional boundaries of cinematic narrative in order to explore an ever shifting internal landscape expressed through architecture, urban space and the sculptural, shaping presence of objects, shapes and emotions invented by camera movement and depth of focus.

ALEXY BRODOVITCH | PAGE 223

PAGE 142 | PERSONS OF INTEREST | ISSUE 1 L A NOT TE (1961) MICHEL ANGELO ANTONIONI

L A NOT TE (1961) MICHEL ANGELO ANTONIONI

ALEXY BRODOVITCH | PAGE 225

L A NOT TE (1961) MICHEL ANGELO ANTONIONI

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L A NOT TE (1961) MICHEL ANGELO ANTONIONI

L A NOT TE (1961) MICHEL ANGELO ANTONIONI

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L A NOT TE (1961) MICHEL ANGELO ANTONIONI

ALEXY BRODOVITCH | PAGE 147

GEORGIA O’KEEFFE PAINTER

Born near Sun Prairie, Wisconsin, O’Keeffe decided to become an artist at age nine. She received formal art training at the School of the Art Institute of Chicago and New York’s Art Students League. After two years as a commercial illustrator, she spent seven years (1911–18) teaching in Virginia, South Carolina, and Texas, while continuing her own study. O’Keeffe was strongly influenced by the ideas of Arthur Wesley Dow, who advocated simplifying forms as a means of capturing their essence and develPAGE 148 | PERSONS OF INTEREST | ISSUE 1

oping a personal style. In 1915, following her time with Dow, O’Keeffe destroyed all of her previous work. She returned to the basics, creating radical charcoal drawings that led directly to experiments with total abstraction. In 1918, O’Keeffe moved to New York at the behest of influential photographer and art dealer, Alfred Stieglitz. Stieglitz gave O’Keeffe her first exhibition, and their professional relationship evolved into a personal one.

Stieglitz’s sensuous photographs of O’Keeffe contributed to her

persistent reputation as a painter of women’s sexuality, despite her vehement rejection of any such interpretations. In 1924, O’Keeffe married Stieglitz, and they lived in New York until his death 22 years later. O’Keeffe settled in New Mexico, which she had visited even during Stieglitz’s lifetime. The dry, bright open spaces appealed to her immensely. She continued to paint there until her death at 98. Towards the end of her life, she painted with the help of an assistant due to increasing vision loss.

GEORGIA O ’KEEFFE | PAGE 149

GEORGIA O’KEEFFE, PHOTOGRAPHED BY YOUSUF KARSH, 1956

PAGE 36 | PERSONS OF INTEREST | ISSUE 1 GEORGIA O’KEEFFE, NEW YORK CITY NO 1, 1926

PERSON’S NAME | PAGE 151

ABOVE: GEORGIA O’KEEFFE, NEW YORK STREET WITH MOON, 1925; BELOW: STORM CLOUD, L AKE GEORGE, 1923

(ABOVE) PHOTOGRAPHY BY TOM VACCARO (RIGHT) GEORGIA O’KEEFFE, SERIES 1, NO. 8, 1919

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PERSON’S NAME | PAGE 39

To create one’s world in any of the arts takes courage.

—GEORGIA O’KEEFFE

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GEORGIA O’KEEFFE, EAST RIVER FROM THE SHERATON HOTEL, 1928

PERSON’S NAME | PAGE 41

GEORGIA O’KEEFFE, MANHAT TAN, 1932

Alvin Ailey was born on January 5, 1931, in Rogers, Texas. His experiences of life in the rural South would later inspire some of his most memorable works. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and his formal dance training began with an introduction to Lester Horton’s classes by his friend Carmen de Lavallade. Horton, the founder of one of the first racially-integrated dance compa-

nies in the United States, became a mentor for Mr. Ailey as he embarked on his professional career.

After Horton’s death in 1953, Mr. Ailey became director of the Lester Horton Dance Theater and began to choreograph his own works. In the 1950s and 60s, Mr. Ailey performed in four Broadway shows, including House of Flowers and Jamaica. The trauma endured in his youth due to racism served as the backbone for much of his life’s work, including his most acclaimed piece, Revelations, which

drew directly frotm vivid memories of the things he turned to in seeking solace; church, blues, and spirituals. Throughout his lifetime, he was awarded numerous distinctions, including the Kennedy Center Honor in 1988 in recognition of his extraordinary contribution to American culture. In 2014, he posthumously received the Presidential Medal of Freedom, the country’s highest civilian honor, in recognition of his contributions and commitment to civil rights and dance in America.

ALVIN AILEY DANCER | CHOREOGRAPHER PAGE 156 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 43

LEFT: ALVIN AILEY PHOTOGRAPHED BY ERIC N. HONG

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ALVIN AILEY | PAGE 159

RIGHT: ALVIN AILEY ON STAGE (TOP) AND ALVIN AILEY’S ‘REVEL ATIONS’ (BOT TOM)

LEFT: ALVIN AILEY PHOTOGRAPHED BY JACK MITCHELL

I wanted to do the kind of dance that could be done for the man on the streets, the people. I wanted to show Black people that they could come down to these concert halls. That it was part of their culture being done there and that it was universal.

—ALVIN AILEY

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ALVIN AILEY | PAGE 161

CAPTION STYLE WOULD BE LIKE THIS FOR EACH IMAGE PAGE 48 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 49

FRANCOISE TRUFFAUT FILM DIRECTOR

Francois Truffaut was a French film director, producer, actor, screenwriter, and film critic. He is regarded as one of the founders of the French New Wave, characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. In his relatively short career, he has taken part in the production of more than 30 films His film The 400 Blows, a autobiographical story about the criminal adventures of a 13-year old boy, is probably the most famous work, and the PAGE 164 | PERSONS OF INTEREST | ISSUE 1

icon of French New Wave movement The resurgence of interest in Truffaut was signaled by the mounting of a major exhibition, “François Truffaut,” on the 30th anniversary of his death, at the inémathèque française in Paris, between 8 October 2014 and 10 February 2015. This exhibition displayed screenplays annotated

by Truffaut, letters to and from his acquaintances—figures such as Alfred Hitchcock and Jean Genet—photographs pertaining to all aspects of his life and work, and significant documents. Arnaud

ON SETBE OFLIKE “JULES ET JIM” CAPTIONTRUFFAUT ST YLE WOULD THIS FOR (1961) EACH IMAGE

FRANCOISE TRUFFAUT | PAGE 165

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COVER AND FILM SILL FROM TRUFFAUT’S ‘400 BLOWS’ (1959)

Desplechin, a prominent contemporary French filmmaker, sheds light on Truffaut’s prominence as a filmmaker: “There was something, in every cut, that allowed each shot to exist of its own volition. Usually when you link two shots, you’re putting them in the service of a story, but here, on the contrary, the shots retain their integrity, their will. Every shot is a unit of thought.”

PERSON’S NAME | PAGE 53

—FRANCOISE TRUFFAUT

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FRANCOISE TRUFFAUT AND JEAN-PIERRE LEAUD ON SET OF ‘DAY FOR NIGHT’ (1973)

Three films a day, three books a week and records of great music would be enough to make me happy to the day I die.

PERSON’S NAME | PAGE 55

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FRANCOISE TRUFFAUT | PAGE 171

RIGHT: ON SET OF ‘ANTOINE AND COLET TE’ (TOP) AND ON SET OF ‘LOVE ON THE RUN’ (BOT TOM)

LEFT: TRUFFAUT AND ALFRED HITCHCOCK IN 1962

GUY RITCHIE FILM DIRECTOR | SCREENWRITER

Guy Ritchie is an English film director, screenwriter, and producer. Born in Hatfield, Hertfordshire on September 10, 1968, Ritchie went on to make a name for himself for films such as Lock, Stock, and Two Smoking Barrels (1998), Snatch (2000), Sherlock Holmes (2009) and The Gentleman (2019). Menacing British gangs, action packed scenes made with “tasteful violence”, and interweaving stories with non linear narratives give Ritchie’s films his unique style that creates a “high-impact viewing experiPAGE 172 | PERSONS OF INTEREST | ISSUE 1

ence” for the audience, but, as Ritchie once said, “It’s impossible to describe any artist’s style.”

Guy struggled with school in his early years dealing with dyslexia.

He attended 10 different schools and was ultimately expelled when he was 15. In 1993, Guy began to work on commercials and music videos for television, allowing him to gain the foundation for his directing skills, and leading him to direct his first project, The Hard Case (1995). After a long search to find a sponsor for his next film, in 1998, he was able to start filming

his first full length directorial debut, Lock, Stock, and Two Smoking Barrels (1998). The gangster crime-comedy was met with appraisal from a worldwide audience and Ritchie became “the most discussed personality in the creative environment of Great Britain in the blink of an eye.”

Two years later, he went on to create another gangster crime-comedy, Snatch (2000), which was met with appraisal of the same caliber and solidified Guy Ritchie’s place in the filmmaking industry for the years beyond.

GUY RITCHIE | PAGE 173

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PERSON’S NAME | PAGE 5

—GUY RITCHIE

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GUY RITCHIE ON THE SET OF SHERLOCK HOLMES (2009)

I’m trying as much as I can not to deconstruct what it is that makes it happen, I don’t know. I went with a very simple formula; just start fucking around.

PERSON’S NAME | PAGE 7

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GUY RITCHIE | PAGE 179

RIGHT: GUY RITCHIE ON THE SET OF ‘KING ARTHUR: LEGEND OF THE SWORD” (TOP) AND ‘SNATCH” (BOT TOM)

LEFT: JASON STATHAM POSING ON THE SET OF GUY RITCHIE’S 2ND FILM “SNATCH”

SUSAN MEISELAS PHOTOGRAPHER

Born in 1948, Susan Meiselas earned a degree at Harvard and started out as a teacher in New York. Meiselas then went on to document Nicaragua’s Sandinista revoltion Her photographs of war-torn Nicaragua and American carnival strippers are her best-known work, especially one photograph named Molotov Man, which depicts a man poised to throw a molotov cocktail made from a Pepsi bottle in his right hand, while holding a rifle in his left hand. This photo became the symbol of SanPAGE 180 | PERSONS OF INTEREST | ISSUE 1

dinista revolution. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora’s Box (2001), Encounters with the Dani (2003) Prince Street Girls (2016), A Room Of Their Own (2017) and Tar Beach (2020). Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow, received a Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019).

CAPTION ST YLE WOULD BE LIKE THIS FOR EACH IMAGE

PERSON’S NAME | PAGE 11

PAGE 12 | PERSONS OF INTEREST | ISSUE 1

SUSAN MEISELAS | PAGE 183

RIGHT: SOLDIERS SEARCH BUS PASSENGERS ALONG THE NORTHERN HIGHWAY, EL SALVADOR, 1980

LEFT: ‘MOLOTOV MAN’ TAKEN BY MEISEL AS DURING THE NICARAGUEN REVOLUTION IN 1979

POPULAR FORCES BEGIN THEIR FINAL OFFENSIVE. MASAYA , NICARAGU

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The camera is an excuse to be someplace you otherwise don’t belong. It gives me both a point of connection and a point of separation.

—SUSAN MEISELAS

A . JUNE 8, 1979

SUSAN MEISELAS | PAGE 185

CAPTION STYLE WOULD BE LIKE THIS FOR EACH IMAGE PAGE 16 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 17

ZUZANA LICKO DESIGNER | TYPOGRAPHY

As one of the first type designers to exploit the potential of the Apple Macintosh in its pre- designer days, Zuzana Licko transformed the pixel from low resolution imitation to high-style original. Her early Emigre fonts not only revolutionised digital typography but also opened up the market for the smaller foundries whose quarter-page ads populate today’s design magazines. She has designed more than two dozen typeface families and oversees the Emigre foundry, which currently offers 300 or so typefaces PAGE 188 | PERSONS OF INTEREST | ISSUE 1

by the likes of Barry Deck, Jonathan Barnbrook, Frank Heine and Rodrigo Cavazos. When Rudy VanderLans launched Emigre, she began to contribute fonts to the fledgling ‘magazine that ignores boundaries’. Rather than replicate (on a dot matrix printer) typograpic forms already adapted from calligraphy, lead and photo setting, Licko used public domain software to create bitmap fonts. Emperor, Emigre and Oakland appeared in the magazine and were soon advertised for sale when VanderLans and Licko

co-founded the Emigre foundry.

Emigre’s development reflected the evolution of digital technology while questioning conventional ideas of legibility and layout.

Licko’s highly structured typefaces counterbalanced VanderLans’ organic compositions. The ‘Emigre aesthetic’ lay at the heart of a once-controversial battle on the American design scene, pitting them against Modernists such as Massimo Vignelli, who referred to the new typography as ‘garbage’.

ZUZANA LICKO | PAGE 189

EMIGRE MAGAZINE COVER BY ZUZANA LICKO

The debate did little to slow the popularisation of the Emigre fonts, which by the late 1980s had moved beyond alternative pop cult status into the mainstream (The New York Times, ABC and Nike).

The graphic design establishment has since recognised Licko and VanderLans with a 1994 Chrysler Award, the 1997 AIGA gold medal and the 1998 Charles Nypels Award for Innovation in Typography.

Licko’s intellectual approach to type creation continued to find inspiration in the production qualities of technology. In 1986 she created Citizen, which approximated the smoother bitmap printing of the new laser printers. Base-9 and Base-12 originated as screen fonts for Emigre’s website in 1995, and then evolved with a ompanion printer font. As Emigre began publishing more design theory, Licko developed more ‘classical’ fonts; her designs Mrs Eaves and Filosofia were based respectively on Baskerville and Bodoni. And with issue 60, Emigre’s latest music-oriented incarnation, Licko and VanderLans have found yet another format in which the publication can continue to be a testing ground for Emigre typefaces.

| PERSONS | ISSUE | PERSONS | ISSUE OFOF INTEREST 1 1 PAGE 4 190 INTEREST

ZUZANA LICKO | PAGE 191

EMIGRE #20, EXPATRIATES (1991). TYPEFACE DESIGNS BY ZUZANA LICKO

LEFT: MRS.EAVES TYPEFACE BY ZUZANA LICKO, 1996. RIGHT: TYPOGRAPHY PAT TERNS

PAGE 6 | PERSONS OF INTEREST | ISSUE 1

ZUZANA LICKO | PAGE 193

RR: Do you have a maxim?

I’d never fully appreciate or notice through casual observation or usage.

ZL: I’ve never thought about having a

For example, working on my Bodoni

maxim . . . it might be: ‘Question the

revival, Filosofia, allowed me to better

obvious’.

understand this long-time classic.

This kind of

scrutiny, in turn,

RR: And what typeface would it be

has given me ideas for faces that

set in?

are not strict revivals, such as Tarzana and Solex.

ZL: That depends on the context, of course. But for general print

RR: How do you judge good typeface

reproduction I would pick the last

design?

one I’ve finished, as I’m still trying to get better acquainted with the

ZL: It depends on the intended usage,

most recent designs.

and what criteria you define as being important: longevity of usage, intensity

RR: What would be your greatest

of usage, influence on other designers,

accomplishment?

etc. It takes the perspective of time to classics, which become icons, and

functional typefaces without mastering

which fade away. Moreover, these

calligraphy, which I was taught was

perceptions also change, and it is

impossible.

the

constant

changing

of

these

perceptions that drives our desire for RR: After becoming well known for

new typeface solutions. In addition,

radical fonts, you became interested

new technologies and environments

in traditional ones. Why?

present new problems for the designer to address. The most successful

ZL: My interest in reviving the

experimental typeface designs are

classics (which began in 1995) was

often

sparked by two factors: sophistication

possibilities or limitations of a yet

of

uncharted technology.

personal computer technology,

and Emigre magazine’s shift towards theory and the subsequent need for text faces to set large bodies of text.

Each design gives me the opportunity to study details of classic faces that PAGE 194 | PERSONS OF INTEREST | ISSUE 1

those

that

address

the

EMIGRE MAGAZINE COVERS. TYPEFACE DESIGN BY ZUZANA LICKO

determine which typefaces remain ZL: That I was able to design

| PAGE | PAGE PERSON’S NAME 9 ZUZANA LICKO 195

PETER ZUMTHOR ARCHITECT

Zumthor has said in the past that his ultimate goal is to “create emotional space.” I ask him how he goes about doing this.“I love buildings,” he says. “When I look back on my life I love the buildings that speak to me by means of their atmosphericqualities, by means of a feeling of history, of being complete.“This is something basic.

I look at a person and it’s nice if Icould love them. It’s a beautiful feeling when I discover a nicerelationship. It’s how I experience buildings. In that I’m not alone – everyone shares this idea. I want to make buildings which have the capacity to be loved, that’s all.” But how does he go about PAGE 196 | PERSONS OF INTEREST | ISSUE 1

making those buildings? That’s the special part.“There are many levels,” he says. “As an architect you have to follow the technical levels, the urbanistic levels and so on, but the most important is probably a beautiful unity of use, atmosphere, space. So that the kitchen of my motherlooks like the kitchen of my mother and not like somethingstrange. It’s about the real thing. That’s what I go for.“I don’t treat the profession of architecture as a profession of arranging and inventing forms,” he continues. “These things I want to do need form, so I give them this form. I’m extremely sensitive to things which don’t work.”

THERME VALS, PETER ZUMTHOR. 1996

PETER ZUMTHOR | PAGE 197

ATELIER PETER ZUMTHOR, 1986

v

12 | |PERSONS PAGE 198 PERSONSOF OFINTEREST INTEREST| |ISSUE ISSUE1 1

KOLUMBA MUSEUM, PETER ZUMTHOR. 2007

PERSON’S NAME| |PAGE PAGE199 13 PETER ZUMTHOR

THERME VALS, PETER ZUMTHOR. 1996

200||PERSONS PERSONSOF OFINTEREST INTEREST||ISSUE ISSUE11 PAGE 14

PETER ZUMTHOR PRINCIPAL WORKS 1986 Zumthor Studio Haldenstein, Switzerland 1988 Sogn Benedetg Chapel Sumvitg, Switzerland 1994 Gugalun House Versam, Switzerland 1996 Therme Vals Switzerland 1997 Kunsthaus Bregenz Austria

Other projects include a tea house in Korea, and a building housing a library, exhibition facilities and archives for the Korean poet Ko Un, also in Korea.

Zumthor is also working on a large-scale project near Munich called Nantesbuch which he describes as a “new form of landscape park. We will invite artists to show their art there, to make site-specific works. We might ask some of them, including myself, to create gardens. We are now in the conceptual stage for that project.”

I have been with Zumthor for around an hour, and he tells me that he has to go straight from our meeting to the airport, to fly back to Switzerland, to his studio in the mountains.

Just before he leaves, I ask what his dream future commission would be.

“I would like to build on the seashore,” he says. “I think the relationship to the sea is beautiful. I have done things with the relationship with the mountains, but not the long horizon of the sea... I like the water, the expanse. It makes me quiet.”

2007 Kolumba Art Museum Cologne, Germany Bruder Klaus Field Chapel Wachendorf, Germany 2011 Steilneset, Memorial for the Victims of the Witch Trials Finnmark, Norway 2013 Werkraumhaus Andelsbuch, Austria 2016 Zinc Mine Museum Allmannajuvet Norway

PERSON’S NAME| |PAGE PAGE201 15 PETER ZUMTHOR

PAGE 13

PERSONS OF INTEREST

ISSUE 1

LEFT: KOLUMBA MUSEUM, 2007. RIGHT: KUNSTHAUS BREGENZ, 1997.

The next year should also be a busy one for Zumthor. As well as the LACMA project, he is working on designs for a multi million euro extension to the Fondation Beyeler art museum in Basel, Switzerland, which will add new exhibition and educational facilities to the existing Renzo Piano-designed building.

2002 House Luzi Jenaz, Switzerland 2005 House Zumthor Haldenstein, Switzerland

MINE ZINC MUSEUM ALLMANNA JUVET , 2016.

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My buildings should have an emotional core, a space which, in itself, has an emotional feeling.

—PETER ZUMTHOR

PETER ZUMTHOR | PAGE 203

Known for her pioneering graphic wall hangings, weavings, and designs, Anni Albers (1899-1994) is considered the most important textile artist of the 20th century, as well as an influential designer, printmaker, and educator. Organized by the Josef and Anni Albers Foundation, In Thread and On Paper: Anni Albers in Connecticut explores the ground breaking work and writing Albers produced in Connecticut from the 1950s through the end of her life, and

includes an extensive body of textiles, wall hangings, commercial collaborations, and works on paper. A landmark presentation, In Thread and On Paper is the first museum exhibition dedicated exclusively to the artist’s incredible output in the 44 years she lived in Connecticut. Anni Albers is interesting on so many levels. Historically she stands out as one of the great artists to emerge from the German Bauhaus, as one of the first female artists to achieve global recog-

nition, and as a rare artist who simultaneously created work that was both functional and purely artistic. Of course, it is the work itself that explains why we are still thinking about her now.

Her understanding of and real empathy for her materials is unparalleled. She was driven by an unwavering curiosity about the way things are made and how simple materials come together to make complicated objects.

A desire to share that curiosity comes through in all of her work.

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ANNI ALBERS | PAGE 205

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ANNI ALBERS | PAGE 207

VARIOUS TEXTILE PAT TERNS FROM ANNI ALBERS

VARIOUS TEXTILE PAT TERNS BY ANNI ALBERS PAGE 208 | PERSONS OF INTEREST | ISSUE 1

ANNI ALBERS | PAGE 209

INSTALL ATION VIEW OF ANNI ALBERS MOMA EXHIBIT, 1949

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ANNI ALBERS | PAGE 211

CHRISTOPHER FARR’S FURNITURE USING ANNI ALBERS ARCHIVES

JEAN-LUC GODARD FILM DIRECTOR When the jump cut first appeared in Jean-Luc Godard’s Breathless, people thought the edit was a mistake. Then, after realizing they were a brand new editing technique, they were amazed.

That’s who Godard was, someone who seemingly effortlessly helped the art of cinema leap forward. If there was a rule of cinema, Godard broke it. He didn’t believe in the fourth wall. He mixed snobby topics with the urbane. And Godard never shied away from sharing his opinions. Godard ushered in the modern era of cinema by being one of the pioneers of the French New Wave. This movement not only changed the way PAGE 212 | PERSONS OF INTEREST | ISSUE 1

film was seen around the world, but it shrunk the globe. People began to seek out cinema from other countries. To study it, talk about it, and celebrate it. His career began as a critic, writing for Cahiers du Cinéma. In the 1960s, after Breathless, Godard made a dozen more movies that helped solidify a new look and feel of movies. He was the kind of guy who could make a musical like A Woman Is a Woman (1961) and follow it up with a drama about a sex worker like Vivre Sa Vie (1962), and round out thedecade with a deconstructed road movie like Week-end (1967).

PORTRAIT OF JEAN-LUC GODARD

JEAN-LUC GODARD | PAGE 213

POSTER FOR MASCULIN FÉMININ (1966)

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PERSON’S NAME||PAGE PAGE215 29 JEAN-LUC GODARD

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PERSON’S NAME||PAGE PAGE217 31 JEAN-LUC GODARD

LEFT: FILM STILL FROM VIVRE SA VIE (1962) RIGHT: SEQUENCE FROM ALPHAVILLE (1965)

Photography is truth. The cinema is truth twenty-four times per second.

—JEAN-LUC GODARD

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JEAN-LUC GODARD | PAGE 219

FILM STILLS FROM VARIOUS JEAN-LUC GODARD FILMS

LINA WERTMULLER FILM DIRECTOR

Born in Rome, August 14, 1928, Lina Wertmuller lived a rebellious childhood. Having been raised in a devout Christian Home, she went to Catholic School. Make that Catholic Schools, after being expelled from 15 different high schools. Her youth was shaped by comic books, having stated that the “Flash Gordon” comics inspired her the most as they were the most cinematic and “more cinematic than most films”.

But before Wertmüller began producing films, she graduated from the school Accademia PAGE 220 | PERSONS OF INTEREST | ISSUE 1

Nazionale di Arte Drammatica Silvio D’amico in 1951. Post college, she found interest in Avant Garde play production and toured with a contemporary group of puppeteers. It was not until she was introduced to her mentor, the legendary director Federico Fellini, that she began to seriously develop her films.

And in the 1970s she began to sore, her film Seven Beauties was nominated for an Oscar, making her the first female director to be nominated for an Academy Award. Her films are

characterized by realism in work life, a fascination of Italy, and vibrant color palettes. Among filmmaking Lina Wertmuller was the subject of a 2015 biopic titled Behind the White Glasses.

She passed away in her home, on December 9, 2021, living to be 93 years old. Narrative and cinematic reflexivity are also commonplace in Wertmüller’s films, as she rehashed and refigured signs and recognizable modes of presentation in a way that references her inspirations and the films of her contemporaries.

LINA WERTMULLER | PAGE 221

LINA WERTMULLER FOR AN EDITORIAL

KEY ART FOR SEVEN BEAUTIES ABOVE, SCREENGRAB FROM THE FILM ON THE RIGHT PAGE 222 | PERSONS OF INTEREST | ISSUE 1

LINA WERTMULLER | PAGE 223

I prefer creative disorder to strict rules. To love is to be engaged is to work is to be interested is to create. if I love something I do it, and if I don’t, I don’t.

—LINA WERTMULLER

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LINA WERTMULLER | PAGE 225

KEY ART FOR LOVE AND ANARCHY

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PERSON’S NAME | PAGE 9

SCREENGRAB FROM WERTMULLER’S SWEPT AWAY

Born in Oimachi, Tokyo, March, 23, 1910, Akira Kurosawa was born into a Samurai Family. Of his eight siblings, Kurosawa was the youngest. His father encouraged the children to watch films, and Akira saw his first western film when he was six years old.

He practiced kendo swordsmanship and calligraphy while growing up as well. Hiego, his older brother of four years took Akira Kurosawa to see the bloody aftermath of the great Kanto earthquake. This would ultimately influence Akira’s blunt unforgiv-

ing storytelling of uncomfortable truths. Akira first found success as a painter, he studied painting at an art school in Japan and found love for traditional western painting. Akira found recognition in filmmaking after many years of assistant work when he directed the film Rashomon. It won the Academy award for best foreign language film in 1951. But his most recognizable film would be Seven Samurai which was released in 1954, it was inspired by early western cowboy films.

Kurosawa passed away in 1998,

but is remembered for his ability to capture motion in compositions unlike any other director.

He uses the entire frame in his compositions to tell vivid stories.

In 1990, the 80-year-old director returned with Dreams, an experimental offering brought to the screen with help from yet another of his admirers, Steven Spielberg.

Though the film met with a lukewarm reception, at that year’s Academy Awards Spielberg and Lucas presented Kurosawa with an honorary Oscar by in recognition of his body of work.

MASSIMO VIGNELLI GRAPHIC DESIGN I FURNITURE DESIGN PAGE 228 | PERSONS OF INTEREST | ISSUE 1

MASSIMO VIGNELLI

MASSIMO VIGNELLI | PAGE 229

VIGNELLI’S DESIGN FOR THE NYC SUBWAY SYSTEM

VIGNELLI’S DESIGN FOR THE D.C

MASSIMO VIGNELLI | PAGE 231

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The life of a designer is a life of fight: fight against the ugliness.

If you can design one thing, you can design everything.

—MASSIMO VIGNELLI

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VIGNELLI DESGINED POSTER FOR KNOLL INTERNATIONAL

MASSIMO VIGNELLI | PAGE 235

ZAHA HADID ARCHITECT

Born in Baghdad, Iraq, October 31, 1950. Zaha Hadid was raised in an upper class Iraqi family. Her interest in the arts and architecture were cultivated through her parents, and she found particular love for architecture when her family would visit ancient Sumerian cities. Hadid studied at the Architectural Association School of Architecture, and at graduation she was described as being “a planet in her own orbit”, and the most “outstanding pupil ever taught”.

The first defining work of hers was the Vitra Fire station in GerPAGE 236 | PERSONS OF INTEREST | ISSUE 1

many. Her major projects include the Bridge Pavilion, Guangzhou Opera House, Galaxy SOHO, and Broad Art Museum, WangJin Soho, and Heydar Aliyev Center.

All of these buildings follow a logical procession of curved lines, giving onlookers the impression that they are in motion. Her style is known as Deconstructivist and Neo-Futuristic. At the same time of her professional accomplishments she taught at universities giving rise to a new generation of architects. Zaha Hadid passed away in 2016.

ZAHA HADID IN A BUILDING SHE DESIGNED

ZAHA HADID | PAGE 237

VITRA FIRE STATION, HADID’S FIRST PROJECT PAGE 238 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 21

Of course there is a lot of fluidity now between art, architecture and fashion—a lot more cross-pollination in the disciplines —ZAHA HADID

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PERSON’S NAME | PAGE 23 HADID’S HEYDAR ALIYEV CENTERT

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ZAHA HADID | PAGE 243

HADID’S SOHO GAL AXY BUILDING

Born in Oimachi, Tokyo, March, 23, 1910, Akira Kurosawa was born into a Samurai Family. Of his eight siblings, Kurosawa was the youngest. His father encouraged the children to watch films, and Akira saw his first western film when he was six years old.

He practiced kendo swordsmanship and calligraphy while growing up as well. Hiego, his older brother of four years took Akira Kurosawa to see the bloody aftermath of the great Kanto earthquake. This would ultimately influence Akira’s blunt unforgiv-

ing storytelling of uncomfortable truths. Akira first found success as a painter, he studied painting at an art school in Japan and found love for traditional western painting. Akira found recognition in filmmaking after many years of assistant work when he directed the film Rashomon. It won the Academy award for best foreign language film in 1951. But his most recognizable film would be Seven Samurai which was released in 1954, it was inspired by early western cowboy films.

Kurosawa passed away in 1998,

but is remembered for his ability to capture motion in compositions unlike any other director.

He uses the entire frame in his compositions to tell vivid stories.

In 1990, the 80-year-old director returned with Dreams, an experimental offering brought to the screen with help from yet another of his admirers, Steven Spielberg.

Though the film met with a lukewarm reception, at that year’s Academy Awards Spielberg and Lucas presented Kurosawa with an honorary Oscar by in recognition of his body of work.

AKIRA KUROSAWA FILM DIRECTOR PAGE 244 | PERSONS OF INTEREST | ISSUE 1

AKIRA KUROSAWA | PAGE 245

AKIRA KUROSAWA AT AN AWARDS EVENT

KEY ART FOR SEVEN SAMURAI ABOVE, SCREENGRAB FROM THE FILM ON THE RIGHT PAGE 246 | PERSONS OF INTEREST | ISSUE 1

AKIRA KUROSAWA | PAGE 247

Man is a genius when he dreams. Dream what you are capable of. The harder you dream it, the sooner it will come true —AKIRA KUROSAWA

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AKIRA KUROSAWA DREAM PAINTINGS

AKIRA KUROSAWA | PAGE 249

SCREENGRAB FROM KUROSAWA’S KAGEMUSHA

SCREENGRAB FROM LOVE AND ANARCHY PAGE 32 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 33

ISAMU NOGUCHI SCULPUTOR

Isamu Noguchi (1904–1988) was one of the twentieth century’s most important and critically acclaimed sculptors. Through a lifetime of artistic experimentation, he created sculptures, gardens, furniture and lighting designs, ceramics, architecture, landscapes, and set designs. His work, at once subtle and bold, traditional and modern, set a new standard for the reintegration of the arts. After high school he moved to Connecticut to work briefly for the sculptor Gutzon Borglum, and then to New York City to attend Columbia University. While enrolled there as a prePAGE 252 | PERSONS OF INTEREST | ISSUE 1

medical student, he also began taking evening sculpture classes on New York’s Lower East Side with the sculptor Onorio Ruotolo at the Leonardo da Vinci School of Art. He soon left the university to become an academic sculptor, supporting himself by making his first portrait busts. Returning to New York City as well as traveling extensively in Asia, Mexico, and Europe in the late 1920s through the 1930s, Noguchi survived on portrait sculpture and design commissions, proposed landscape works and playgrounds, and intersected and engaged in collaborations with

a wide range of luminaries. Noguchi’s work was not well-known in the United States until 1940, when he completed a large-scale sculpture symbolizing the freedom of the press, which was commissioned in 1938 for the Associated Press Building in Rockefeller Center, New York City. This was the first of what would eventually become numerous celebrated public works worldwide, ranging from playgrounds to plazas, gardens to fountains, all reflecting his belief in the social significance of sculpture.

ISAMU NOGUCHI | PAGE 253

NOGUCHI WITH HIS SCULPTURE ‘KOUROS’

NOGUCHI’S MODEL, CIRCA 1956, IN PL ASTER AND FAUX GRANITE FOR IDLEWILD AIRPORT

CONTOURED PL AYGROUND

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PERSON’S NAME | PAGE 5

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COFFEE TABLE (IN-50) 1944, GL ASS, WOOD

PERSON’S NAME | PAGE 7

The son of composer and musician Carmine Copola, Francis was born in Detroit, Michigan but grew up in Queens, New York, where his family settled shortly after his birth. Coppola entered Hofstra University in 1955 to major in theater arts. He was elected president of the Green Wig, the university’s drama group, and the Kaleidoscopians, its musical comedy club. He then merged the two into the Spectrum Players. Under his leadership, the Spectrum staged a new produc-

tion each week. Coppola won three D.H. Lawrence Awards for theatrical production and direction, and received a Beckerman Award for his outstanding contributions tothe school’s theater arts division. After he won UCLA’s Samuel Goldwyn Award for the best screenplay written by a student, Seven Arts hired Coppola to adapt the late Carson McCullers’s novel Reflections in a Golden Eye as a vehicle for Marlon Brando (who was to star for Coppola later, in The Godfather and

Apocalypse Now).In 1966 Coppola completed his Master of Fine Arts degree at UCLA, and directed his second film, You’re a Big Boy Now, which earned a commercial release and critical acclaim. He then directed the motion picture adaptation of the Broadway musical Finian’s Rainbow, followed by another original work, The Rain People, grand prize winner at the 1970 San SebastianInternational Film Festival.

FRANCISFORD COPPOLA FILMMAKER PAGE 258 | PERSONS OF INTEREST | ISSUE 1

EXCERPT FROM FRANCIS FORD COPPOL A’S NOTES ON THE NOVEL ‘ THE GODFATHER’

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I don’t think there’s any artist of any value who doesn’t doubt what they’re doing.

—FRANCIS FORD COPPOLA

SEIDOU KEITA MALIAN PHOTOGRAPHER

Since his photographs were first seen in the west 30 years ago, Seydou Keïta has been acknowledged as one of the great practitioners of the medium, his work collected and shown by the world’s leading museums. Born circa 1921, Seydou Keïta lived in Bamako, Mali, where from 1948 through the 1950s he ran a successful portrait studio taking pictures of local individuals and families. Essentially self-taught, Keïta developed his trademark style photographing his sitters in daylight against a variety of backdrops from plain drapes PAGE 262 | PERSONS OF INTEREST | ISSUE 1

to vibrant African pattern. No matter the situation Keïta had a natural gift and a refined aesthetic that made his portraits distinctive works of art. Technically, his negatives were perfectly exposed and focused. More importantly however, his pictures captured the spirit of his sitters in agenerous manner and in captivating compositions.Unknown outside of Bamako, Keïta was “discovered” by westerners in the early 90’s due to the eye of African Art collector Jean Pigozzi. After seeing two uncredited pictures in a 1992 group show of African

Art, Pigozzi sent his curator André Magnin to Mali to try to locate the un-named artist from Bamako. Magnin found Keïta repairing bicycles and returned to Paris with 921negatives Keïta had buried when the government shut down his studio. Pigozzi then arranged for one of the leading printers in Paris to make archival prints of the images under Keïta’s supervision. In 1994 Keïta was given a solo show at the Fondation Cartier followed by an impressive number of museum shows around the world.

SEYDOU KELTA | PAGE 263

SEYDOU KEITA , SELF-PORTRAIT, 1950S, 16 X 12”, SILVER GEL ATIN PRINT

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SEYDOU KELTA | PAGE 265

SEYDOU KEITA, UNTITILED, 1990S, 16 X 12”, SILVER GELATIN PRINT ; SEYDOU KEITA, UNTITILED, 1950S, 60 X 50 CM, SILVER GELATIN PRINT.

PAGE 266 | PERSONS OF INTEREST | ISSUE 1 SEYDOU KEITA , PORTRAIT (WOLOVE WOMEN), 1977, 60 X 50, SILVER GEL ATINPRINT

SEYDOU KEITA , FEMALE PORTRAIT, 1949-63, 60 X 50, SILVER GEL ATINPRINT

SEYDOU KELTA | PAGE 267

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SEYDOU KELTA | PAGE 269

SEYDOU KEITA , UNTITLED PORTRAIT, 1954, 60 X 50 CM, B/W PRINT SEYDOU KEITA , UNTITLED PORTRAIT, 1950, 60 X 50 CM

Diana Vreeland was a FrenchAmerican fashion columnist and editor. She worked for the fashion magazine Harper’s Bazaar and as editor-in-chief at Vogue. In 1962 Vreeland left Harper’s Bazaar and joined the staff of Vogue, of which she became editor in chief in 1963. Under her strong guidance, Vogue soon began to reflect her own taste for the novel, the bizarre, and the outrageous. The youthful and the eccentric were

featured, and the photography and design were calculated to reflect the age of youth culture, rock music, and the overthrow of trad Editorial matter in the magazine often followed her own idiosyncratic style, evident in such statements as “Pink is the navy blue of India.” In particular she created the notion of the “Beautiful People,” a subclass of youthful, wealthy, and footloose members of the less-ex-

clusive international set who were supposed to set the tone of fashion, art, and society.

Vreeland was removed as editor in chief of Vogue in 1971, when the heady fashion excesses of the 1960s had passed.

Later that year she was named special consultant to the Costume Institute of the Metropolitan Museum of Art (founded in 1937 by Irene Lewisohn).

DIANA VREELAND CHIEF EDITOR AT VOGUE

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DIANA VREEL AND, UNKNOWN, 1970S, GEL ATIN SILVER PRINT.

DIANE VREELAND | PAGE 271

PAGE 272 | PERSONS OF INTEREST | ISSUE 1 UNTITILED PORTRAIT, PHOTOGRPAH IN COLOR UNTITLED, PORTRAIT OF DIANA VREEL AND, SILVER GEL ATIN PRINT

DIANE VREELAND | PAGE 273

—DIANA VREELAND

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DIANA VREEL AND SHOT BY RICHARD AVEDON, HARPER’S BAZAAR 1946.

You gotta have style.

It helps you get down the stairs.

It helps you get up in the morning. It’s a way of life. Without it, you’re nobody. I’m not talking about lots of clothes.

DIANE VREELAND | PAGE 275

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DIANE VREELAND | PAGE 277

OUISE DAHL-WOLFE, DIANA VREEL AND, 1942, GEL ATIN SILVER PRINT, 29.2 X 25.1CM

CECILE BURTON, DIANA VREEL AND, 1978, SILVER PRINT, 27.6 X 27 CM

HELEN LEVITT PHOTOGRAPHER | FILMAKER

As a teenager, Levitt wanted to be an artist but felt she “could not draw well.” In 1931, finding high school boring because, as she states, “too many other things in life distracted me,” she dropped out her senior year. She then went to work for a commercial photographer that her mother knew in the Bronx. She worked in the darkroom printing and PAGE 278 | PERSONS OF INTEREST | ISSUE 1

developing. From her six dollar a week salary, she saved up enough money to buy a used Voigtlander camera, and began taking black and white photographs of her mother’s friends. Never receiving a formal education, she educated herself by attending exhibitions and reading publications on the work of Ben Shahn.

HELEN LEVIT T | PAGE 279

NEW YORK 1988, HELEN LEVIT T, COLOR PRINT ; NEW YORK 1982, HELEN LEVIT T, COLOR PRINT; UNTITLED, HELEN LEVIT T, NEW YORK, 1940, B/W PRIN. W

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HELEN LEVIT T | PAGE 281

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HELEN LEVIT T | PAGE 283

UNTITLED, HELEN LEVIT T - NEW YORK, 1938, B/W PRINT; NEW YORK,1982, HELEN LEVIT T, B/W PRINT

PAGE 284 | PERSONS OF INTEREST | ISSUE 1 NEW YORK, 1940, HELEN LEVIT T, B/W PRINT NEW YORK,1939, HELEN LEVIT T, B/W PRINT

HELEN LEVIT T | PAGE 285

GERTRUDE STEIN AMERICAN NOVELIST

Gertrude Stein was born in Allegheny, Pennsylvania on February 3, 1874 to wealthy German-Jewish immigrants.

When Stein was three, her family moved, first to Vienna, and then to Paris. They returned to the U.S. in 1878 and settled in Oakland, California. Her mother, Amelia, died of cancer in 1888 and her father, Daniel, died in 1891.

Stein attended Radcliffe College from 1893 to 1897, where PAGE 286 | PERSONS OF INTEREST | ISSUE 1

she specialized in psychology under noted psychologist William James. After leaving Radcliffe, she enrolled at Johns Hopkins University, where she studied medicine for four years, leaving in 1901.

Stein did not receive a formal degree from either institution.

In 1903, Stein moved to Paris with Alice B. Toklas, a younger friend from San Francisco who would remain her partner and

secretary throughout her life.

The couple did not return to the United States for over thirty years. During World War I, they volunteered together, driving supplies to hospitals in France.

Together with Toklas and her brother, Leo, an art critic and painter, Stein took an apartment on the Left Bank.

GERTRUDE STEIN, PHOTOGRPAHED BY CARL VAN VECHTEN IN JANUARY 1935

GERTRUDE STEIN | PAGE 287

PAGE 288 | PERSONS OF INTEREST | ISSUE 1 PABLO PICASSO PORTRAIT OF GERTRUDE STEIN, OIL ON CANVAS, 1905

GERTRUDE STEIN | PAGE 289

FRANCIS PICABIA , PORTRAIT OF GERTRUDE STEIN, OIL ON CANVAS, 1933

PAGE 390 | PERSONS OF INTEREST | ISSUE 1 GERTRUDE STEIN PHOTOGRPAHED BY CARL VAN VECHTEN, JANUARY 1935

GERTRUDE STEIN | PAGE 291

GERTRUDE STEIN AND HER POODLE, BASKET IN PIERRE BALMAIN’S ATELIER

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GERTRUDE STEIN AND ALICE B. TOKL AS, FRANCE, 1944 GERTRUDE STEIN AND ALICE B. TOKL AS IN THEIR APARTMENT IN PARIS, FRANCE, 1922

GERTRUDE STEIN | PAGE 293

LISETTE MODEL PHOTOGRAPHER

Lisette Model (born Elise Amelie Felicie Stern; November 10, 1901 – March 30, 1983) was an Austrian-born American photographer primarily known for the frank humanism of her street photography. A prolific photographer in the 1940s and a member of the New-York cooperative Photo League, she was published in PM’s Weekly, Harper’s Bazaar, and US Camera before taking up teaching in 1949 through the PAGE 294 | PERSONS OF INTEREST | ISSUE 1

intermediary of Ansel Adams.

She continued to photograph and taught at the New School for Social Research in New York from 1951 until her death in 1983 with many notable students, the most famous of whom was Diane Arbus. Her work has been shown in numerous exhibitions and still resides in several permanent collections, including that of the National Gallery of Canada and the J. Paul Getty Museum.

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LISET TE MODEL | PAGE 297

Riley was born at Norwood, London, the daughter of a businessman. Her childhood was spent in Cornwall and Lincolnshire. She studied at Goldsmiths’ College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. She began painting figure subjects in a semi-impressionist manner, then changed to pointillism around 1958, mainly producing landscapes. In 1960 she evolved a style in which she explored the dynamic potentialities of optical phenomena.

These so-called ‘Op-art’ pieces, such as Fall, 1963 (Tate Gallery

T00616), produce a disorienting physical effect on the eye.

Riley taught children for two years before joining the Loughborough School of Art, where she initiated a basic design course in 1959. She then taught at Hornsey School of Art, and from 1962 at Croydon School of Art. She worked for the J. Walter Thompson Group advertising agency from 1960, but gave up teaching and advertising agency work in 1963-4.Group shows include Young Contemporaries, London, 1955; Diversion, South London Art Gallery

1958; an Arts Council Touring Exhibition, 1962; Tooth’s Critics Choice Exhibition, selected

by Edward Lucie-Smith, 1963; John Moores’ Exhibition, Liverpool, 1963; The New Generation, Whitechapel Gallery 1964; Movement, Hanover Gallery, London, 1964; Painting and Sculpture of a Decade 19541964, Tate Gallery, 1964; and Op Art, touring Ireland in 1967. Her numerous European and American exhibitions include The Sixties Collection Revisited, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, 1978.

BRIDGET RILEY PAINTER PAGE 298 | PERSONS OF INTEREST | ISSUE 1

BRIDGET RILEY, ‘PAINTING WITH VERTICALS 3’, 200 6 © BRIDGET RILEY 2019. PHO-

BRIDGET RILEY | PAGE 299

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PERSON’S NAME | PAGE 51

BARBARA KRUGER MULTIMEDIA ARTIST

Barbara Kruger is an American artist that is known for her distinctstyle in graphic design and collage.

Having experimented in various aspects of art includingphotography, mixed media, sculpture, and her large interactive installations that include audiovisuals and video. Kruger has created an idiosyncratic style associated with herself.

Known for her consistent, declarative font use in Futura Bold and Helvetica Ultra Bold, along with strong diction, Kruger’s work often addresses social constructs of PAGE 302 | PERSONS OF INTEREST | ISSUE 1

power, identity, consumerism, and sexuality. Personal pronouns such as “you” and “I” are commonly found in her works as she addresses the audience and brings the viewer into each piece. Her art creates a space where it demands us to question how form our identities within culture through representation of language and image. Kruger’s work has left a large influence in graphic design and has challenged the coercive power of mass media and marketing for decades.

| PAGE | PAGE BARBARA PERSON’S KRUGER NAME 303 3

BARBARA KRUGER, UNTITLED (WHO IS FREE TO CHOOSE?), 1990, GEL ATIN

Kruger created the work Untitled (A corpse is not a customer), which appeared in print and online. Kruger has insisted, however, that she does not characterize her work as “political art,” telling Interview in 2013, “I never say I do political art.

Nor do I do feminist art. I’m a woman who’s a feminist, who makes art.”

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BARBARA KRUGER, UNTITLED (A CORPSE IS NOT A CUSTOMER), 2020

| PERSONS | ISSUE | ISSUE PAGE 316 6 | PERSONS OFOF INTEREST INTEREST 1 1

BARBARA KRUGERUNTITLED (NO) 1985

BARBARA KRUGER,YOU ARE NOT YOURSELF 1981

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BARBARA KRUGER,YOU’RE RIGHT (AND YOU KNOW IT AND SO SHOULD EVERYONE ELSE), 2010

BARBARA KRUGER, SURVEILL ANCE IS YOUR BUSYWORK, CA . 1983

BARBARA KRUGER | PAGE 309

SHIRIN NESHAT PHOTOGRAPHER | VISUAL ARTIST

Shirin Neshat is an Iranian artist who often implenents her identity as an Iranian woman into her art, largely consisting of film, video, and photography. Neshat’s art depicts the contrasts of ideas between Islam and western culture, as well as ideas of feminitiy and masculinity between the two. Shirin came to America in the 70s to study art in Los Angeles just prior to the Iran revolution and did not return until 1990. She began to photograph herself wearing the chador, or veil, and in 1983 Islamic law dictatic the wearing PAGE 310 10 || PERSONS PERSONS OF OF INTEREST INTEREST || ISSUE ISSUE 11

of chador for women. Her work often examines the physical, emotional, and cultural implications of veiled women in Iran. Neshat’s work has never been shown in Iran as it essentially declares a female presence in a male dominating culture, making it incredibly dangerous as the female gaze becomes a powerful instrument for communication. Neshat also often explores taboos through her art and continues to cross boundaries in artistic expression

PERSON’S SHIRIN NESHAT NAME||PAGE PAGE311 11

SHIRIN NESHAT, FACELESS, WOMEN OF ALL AH SERIES, 1994 PAGE 312 | PERSONS OF INTEREST | ISSUE 1

SHIRIN NESHAT | PAGE 313

SHIRIN NESHAT, SPEECHLESS, WOMEN OF ALL AH SERIES 1996

SHIRIN NESHAT, UNTITLED, FROM RAPTURE ,1999

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PERSON’S SHIRIN NESHAT NAME||PAGE PAGE315 15

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SHIRIN NESHAT, UNTITLED, FROM ROJAS SERIES, 2016

PERSON’S SHIRIN NESHAT NAME||PAGE PAGE317 17

ROY DECARAVA PHOTOGRAPHER

Roy DeCarava was born in New York City’s Harlem neighborhood and has captured the livliness and invigorating forces of culture in the city for decades.

Having studied painting for a while, Roy switched the medium to photography as a way of gathering visual information for his paintings however it eventually became his primary means of artistic expression. His photographs encapsulate what it means to be an observer and wanted to form relationships with his subjects that were evident in the photoPAGE 318 | PERSONS OF INTEREST | ISSUE 1

graphs. DeCarava was known for printing his own images, which gave him more control over his aesthetic and style. Roy’s work in Harlem in photographing the lives of the minority and also the large jazz movement happening in mid century has allowed many to take a peek into the untold lives of black neighborhoods in the essence of music and community. His work has been celebrated globally and has produced five published art books that collects sensibility from various aspects of his career.

PERSON’S ROY DECARAVA NAME||PAGE PAGE319 19

ROY DECARAVA , OLIVER BEENER GROUP #4 ,1956

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ROY DECARAVA , MILT JACKSON, 1956

ROY DECARAVA , COLTRANE ON SPOPRANO, 1963

ROY DECARAVA | PAGE 320

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ROY DECARAVA | PAGE 323

ROY DECARAVA , LINGERIE , 1950

ROY DECARAVA , SUN AND SHADE ,1952 PAGE 24 324| |PERSONS PERSONSOF OFINTEREST INTEREST| |ISSUE ISSUE1 1

ROY DECARAVA | PAGE 325

ROY DECARAVA , MAN COMING UP SUBWAY STAIRS, 1952

DOUG WHEELER ARTIST

Doug Wheeler is an American artist specializing in creating with form, light, and shape. Pioneer of the so called “Light and Space” movement that flourished in Southern California in the 1960s into the 70s, Doug’s work encapsulates the freeing intrisic feeling of sensory perception as he experiments with the environemt of a piece. He began as a painter and wanted to challenge how an audience interacts with art and how it can fill a space. According to critic and curator John Coplans, Wheeler’s “primary aim as PAGE 26 326| |PERSONS PERSONSOF OFINTEREST INTEREST| |ISSUE ISSUE1 1

an artist is to reshape or change the spectator’s perception of the seen world. In short, his medium is not light or new materials or technology, but perception.

Wheeler had his first solo exhibition open at the Pasadena Art Museum in 1968 and since has had countless shows globally, including at David Zwirner in New York City and FRAC Lorraine, Metz, France. Douug has been creating light designs for the past 6 decades and continues to reshape the limitations of what art can be.

DOUG PERSON’S WHEELER NAME| |PAGE PAGE327 27

DOUG WHEELER, UNTITLED (BOISSANO) , 1981 ,

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DOUG WHEELER, 49 NORD 6 EST POV LUMINIFEROUS LIGHT VOLUME , 2012

DOUG WHEELER | PAGE 329

PAGE 33O | PERSONS OF INTEREST | ISSUE 1 DOUG WHEELER, RM 669 ,1969

DOUG WHEELER, DW 68 VEN MCASD 11, 1968/2011

DOUG WHEELER, 9 NORD 6 EST 68 VEN 12 FL, 2020

DOUG PERSON’S WHEELER NAME| |PAGE PAGE331 31

DOUG WHEELER, UNTITLED ,1967

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PERSON’S NAME | PAGE 33

Everything that Saul and Elaine Bass—did had a signature look to it. Saul’s very pencil markings were unmistakably his. Whatever they put their hands to had an indelible character—rather like Matisse’s cut-outs—that gave all the work a baseline high standard. You always felt the minds and hands that made the work were there off-camera, just a little out of frame. You don’t want the titles to replicate what you’re going to see in a film or to simply be a trailer. They raise more questions than they answer. Saul was always looking at every film and what it

needed The way they tailor-made the titles to the specifics of each story reflects a design philosophy. Bass’s designs are instantly recognisable, and he was ferociously protective of his creative control. Little surprise he chose to ally himself with the kinds of producer-directors that did their best work independently, far from studio interference. He was equally protective of his legacy, not keen to share credit for his work.

When he won his only Oscar for the free-form essay film Why Man Creates (1968), in the best documentary short category, he thanked

ELAINE& SAULBASS GRAPHIC DESIGN | FILMMAKERS

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precisely no one when he took to the stage. History has come round to the extent of his second wife Elaine’s role in his career, as Bass biographer Jan-Christopher Horak describes: “Saul was all geometry whereas Elaine introduced curves and undulations, like the glistening water’s surface in Cape Fear (1991), as well as long takes that contrasted with Bass’s montage technique.”

It’s largely accepted these days that Elaine was the driving force on the Bass’s later collaborations, particularly his work for Scorsese in the early 1990s.

FILM POSTERZ (REJECTED), 1980

PERSON’S NAME | PAGE 335

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My initial thoughts about what a title can do was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.

—SAUL BASS

ELAINE AND SAUL BASS | PAGE 337

PAGE 338 | PERSONS OF INTEREST | ISSUE 1 LEFT: THE FIXER, 1968 RIGHT: SUCH GOOD FRIENDS 1971

ELAINE AND SAUL BASS | PAGE 339

STILLS FROM SECONDS, 1966

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ELAINE AND SAUL BASS | PAGE 341

TWYLA THARP DANCER | CHOREOGRAPHER

Twyla Tharp likes surprises, often achieved through swiftly delivered and abandoned contrasts, sometimes contained at once in the same body: the mechanical and lyrical, taut and relaxed, classical and pop culture, serious and comic, simple and insanely complex.

She brings this gift, plus her mastery of matrix and foreground, harmony and dissonance, to bear in “Preludes and Fugues,” a painterly work for 12 dancers set to well-curated selections from the two volumes of Bach’s “The Well-Tempered Clavier,” mining PAGE 342 | PERSONS OF INTEREST | ISSUE 1

its various dynamics and moods.

Though “Preludes” starts slowly, it rivets attention in the fourth section of 22. Set to melancholy music, it features what seems a troubled couple: plangent longtime Tharp dancer Rika Okamoto and springy gent Daniel Baker. In the cultural ferment of New York in the 1960s, most young artists felt challenged to test the boundaries of their media. Twyla Tharp’s work fused classical discipline and rigor with avant-garde iconoclasm, combining ballet technique with natural movements like running,

walking and skipping. While modern dance had historically aspired to high seriousness and spirituality, Tharp’s work was humorous and edgy. She worked less often with contemporary avant-garde music than with classical music, pop songs, a clicking metronome, or silence. Always, the choreography was dynamic, unpredictable and underpinned by an unusually thorough musical intelligence.

This became apparent to critics and audiences alike with her 1971 piece, The Fugue.

IMAGE TWYLA THARPE BY GJON MIILI, 2014

TWLA THARPE | PAGE 343

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LEFT: IN THE UPPER ROOM REVISITATION, 2021 RIGHT: MIKHAIL BARYSHNIKOV & TWYLA THARP 2012

TWLA THARPE | PAGE 345

Nobody worked harder than Mozart. By the time he was twenty-eight years old, his hands were deformed because of all the hours he had spent practicing, performing, and gripping a quill pen to compose. That’s the missing element in the popular portrait of Mozart.

—TWYLA THARPE

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IMAGE THE FUGUE REVISITED, 2017 PERSON’S NAME | PAGE 15

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LEFT: MINIMALISM AND ME , 2017 RIGHT: TWYLA THARPE 50TH ANNIVERSARY, 2015

TWLA THARPE | PAGE 349

GILLES PERESS PHOTOGRAPHER

Gilles Peress is a French photographer and a member of Magnum Photos. Peress began working with photography in 1970, having previously studied political science and philosophy in Paris. One of Peress’ first projects examined immigration in Europe, and he has since documented events in Northern Ireland, Lebanon, Palestine, Iran, the Balkans, Rwanda, the U.S., Afghanistan, and Iraq. His project, Hate Thy Brother, a cycle of documentary narratives, looks at intolerance and the re-emergence of nationalism throughout the world and its consequences. Peress’ books include Telex Iran; The Silence: Rwanda; Farewell to Bosnia; The Graves: SrebreniPAGE 350 | PERSONS OF INTEREST | ISSUE 1

ca and Vukovar; A Village Destroyed; and Haines. Gilles Peress’s photography demonstrates his uncommon ability to navigate and communicate the atmosphere and urgency of volatile political environments. While his early work identified him as a “concerned photographer,” his more recent work suggests an increasing concern with form and a more obvious sense of subjectivity. In this respect, Peress’s photographs echo the photojournalism of Henri Cartier-Bresson, whose conflation of aesthetics and reportage set the precedent for artistic photojournalism earlier in the century.

CAPTION ST YLE WOULD BE LIKE THIS FOR EACH IMAGE

PRO-SHARVATMADARI, FROM THE “TELEX IRAN IN THE NAME OF THE REVOLUTION” SERIES, 1980

GILLES PERESS | PAGE 351

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Telex Iran is an extraordinarily personal document of a public event. The photographs Gilles Peress took over a five-week period during 1979-1980 focus on the seizure of the American embassy and a number of hostages in Tehran by student proxy groups of the new Iranian regime. However, the book forms neither a study nor an analysis of that singular event. Peress’ photographs do not purport to tell the story – any story – but are the nearly seismographic record of the photojournalist’s perceptions, encounters, and not least, his emotions as he moves through the city and the countryside of a nation in upheaval.

FAREWELL TO BOSNIA DEPARTURE OF JEWS IN SKANDERIA. SARAJEVO, BOSNIA AND HERZEGOVINA, 1993 GILLES PERESS | PAGE 353

PAGE 22 | PERSONS OF INTEREST | ISSUE 1 LEFT: PHOTOGRAPH BLOODY SUNDAY, 1972 RIGHT: SERIES OF PHOTOGRAPHS BY GILLES PERESS 1970-85

PERSON’S NAME | PAGE 23

LEFT: SERIES OF PROTEST INORTHER ISLAND 1984 RIGHT: NORTHERN IRLAND 1984 PAGE 356 | PERSONS OF INTEREST | ISSUE 1

GILLES PERESS | PAGE 357

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Stepanova with her husband Alexander Rodchenko in the 1920s

VARVARA STEPANOVA

GRAPHIC DESIGNER

Before heading the textile design course at the Vkhutemas art school, Stepanova had spent a year working at Tsindel, the state textile factory, producing over 150 designs. Unfortunately, due to wartime shortages and the complexity of her visions, many of these would never be realised, but her work lives on. It is from her pioneering designs and radical reimagining of clothes and the body that our own contemporary approach to sportswear and

streetwear has been created: the technologically innovative fabrics and bold use of colour and pattern that dominate Western fashion shows today – having been forged among the passions, ideals and dynamism of the early Soviet years.Her work shows great personal creativity. By using vibrant color, and striking images in a dynamic composition, she pioneered photomontage and revolutionized the way we now understand photography.Historical

hindsight can make it difficult for contemporary viewers to engage the overtly propagandistic aspects of these images, in fact their exaggerated euphoria can even be mistaken for irony. Nevertheless, despite our increasingly sophisticated understanding of the distinction between image and reality, Stepanova’s photomontages are an important reminder of how an artist can blur the line between aesthetic passion and ideology.

VARVARA STEPANOVA | PAGE 359

PAGE 360 | PERSONS OF INTEREST | ISSUE 1 LEFT: THROUGH RED AND WHITE GLASSES, 1924 RIGHT: SET PIECES THE DEATH OF TARALKIN, 1922 AND SET DESIGN FOR AN EVENING OF THE BOOK, 1924

VARVARA STEPANOVA | PAGE 361

PAGE 362 | PERSONS OF INTEREST | ISSUE 1 LEFT: CONSTRUCTIVIST CLOTHING LINE 1920 RIGHT: CONSTRUCTIVIST CLOTHING LINE 1920

VARVARA STEPANOVA | PAGE 363

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LEFT: VARVARA STEPANOVA & MAYAKOVSKY’S COLLABORATION ‘THE ROSTA WINDOW.’ 1932 RIGHT: PHOTOMONTAGE ‘Beready!’, 1932

VARVARA STEPANOVA | PAGE 365

CAMILLE WALALA DESIGNER

Camille Walala is a French multidisciplinary artist whose practice is currently rooted in London. Best known for her larger than life public interventions with her signature “tribal pop” aesthe tic, Walala’s explosively colorful “public interventions” can be anything from full-facade murals, immersive 3D installations, street art, interiors, and set design. Her work, largely influenced by the memphis movement, the Ndebele tribe and PAGE 366 | PERSONS OF INTEREST | ISSUE 1

optical art master Vasarely, has garnered her international success, and her body of work reaches to all corners of the world. A graduate in textile design from the University of Brighton, Camille established her design brand Walala in London with the mantra “the bigger the better.” Her designs can either live on the floor (as a rug or bathmat), or ascend 130 feet in the area on the facade of a Brooklyn Building for the whole world to enjoy.

PUT TING THINGS IN PERSPECTIVE BY CAMILLE WALALA , THE BOX, PLYMOUTH, 2022

CAMILLE WALALA | PAGE 367

I first remember reading these books on Memphis designs shortly after graduating; it was a moment of hysterical joy.

They encapsulated so much of what I love about design and art.

—CAMILLE WALALA

| PERSONS | PERSONS | ISSUE | ISSUE PAGE 4 368 OFOF INTEREST INTEREST 1 1

VARIOUS MEMPHIS PRODUCTS, 1981

PERSON’S NAME | PAGE 5

WAL AL A X PL AY, 2017 PAGE 370 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 7

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WAL AL A X LEGO, 2020

CAMILLE WALALA | PAGE 373

RICHARD SERRA ARTIST

Richard Serra is a world-renowned American artist, known primarily for his site-specific massive scale architectural sculptures which explore the relationship between the viewer, the work, and the site. The visual aesthetic of his work is both austere yet playful. His materials are often industrial, tinged by decay and the feeling of rot, yet their shape feels so fluid and organic, almost disorienting. His works are experienced through interaction with the work which usually towers PAGE 374 | PERSONS OF INTEREST | ISSUE 1

above the viewer. Some are like the rusted slices of an iron wave, others are like fluid labyrinths in a spiral shape. “I consider space to be a material. The articulation of space has come to take precedence over other concerns.

I attempt to use sculptural form to make space distinct.” He has been a practicing artist since the mid 60s and has undoubtedly cemented himself as one of the most influential sculpture artists of our age.

RICHARD SERRA

RICHARD SERRA | PAGE 375

Drawing is a verb.

-RICHARD SERRA

Crutial to the development of his early practice, Verb List lays the groundwork for his philosophy as both a scupltor and as an artist in general. Despite being a paper-based work, the scope of this piece spans across all media he explores. Much of Serra’s work can only accurately be articulated through verbs, desbribing the way his sculpures might “twist, bend, or tilt.” This work gives us insight onto the conceptual and performative levels of Serra’s goals as an artist.

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VERB LIST, 1967

RICHARD SERRA | PAGE 377

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RICHARD SERRA | PAGE 379

ST. JOHN’S ROTARY ARC, 1975

TO ENCIRCLE BASE PL ATE HEXAGRAM, RIGHT ANGLES INVERTED, 1970 PAGE 380 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 17

Alexander Rodchenko was a prolific Russian artist with a versatile practice spanning across sculpture, illustration, graphic design, and photography. He is credited as being one of the fathers of the constructivist art movement, which sought to reflect the modern industrial society with its abstract austerity. He began his artistic life as a painter, heavily influenced by the

cubist sensibilities of form and color, and often only a compass and ruler in an attempt to eliminate overly expressive brushstrokes. In the 1920s, as a member of the Productivist group, he moved from painting to graphic design, creating books, posters and advertisements. He soon also took to the camera, creating a body of work that was highly documentary in nature, often

opposing the painterly aesthetic of other prominent photographers of the era. His compositions were marked by sharp angles, framing the world from extremes of high and low. He embraced its potential for social commentary, documenting the disparity between the idealized and Soviet experience and the realities of those around him.

ALEXANDER RODCHENKO

GRAPHIC DESIGN | PHOTOGRAPHY

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ALEXANDER RODCHENKO

ALEXANDER RODCHENKO | PAGE 383

THE END OF PAINTING, 1921 PAGE 384 | PERSONS OF INTEREST | ISSUE 1

I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow.

I affirmed: It’s all over.

-RODCHENKO

ALEXANDER RODCHENKO | PAGE 385

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GIRL WITH LEICA , 1934

PORTRAIT OF THE ARTIST’S MOTHER 1924

PERSON’S NAME | PAGE 23

PAGE 24 | PERSONS OF INTEREST | ISSUE 1 SPATIAL CONSTRUCTION NO. 12, 1920

We created a new understanding of beauty, and enlarged the concept of art.

-RODCHENKO

DOBROLET ADVERTISEMENT, 1923 ALEXANDER RODCHENKO | PAGE 389

JOHN COHEN PHOTOGRAPHER | MUSICIAN

John Cohen was a photographer and musician born in Queens, New York in the early 1930s. A natural born artist, he grew up playing the guitar and banjo, eventually going to Yale University to study painting, where he met Tom Paley. The two moved back to New York after graduation, forming the New Lost City Ramblers, which was largely influenced by rural string bands from PAGE 390 | PERSONS OF INTEREST | ISSUE 1

the early 20’s and 30’s. During his time at Yale university, Cohen learned about peruvian weaving techniques in an archeology class.

Inspired by this, he traveled there in the 1950’s to write his masters thesis on the subject. Cohen became a talented portrait photographer and filmmaker, capturing the flourishing underground art and music scene at the time.

JOHN COHEN

JOHN COHEN | PAGE 391

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Before he became known for his developing his body of work as a there, he studied the techiques of portraits of the New York City un- documentary photography in Peru local musicians and captured field derground art scene, Cohen was during his thesis at Yale. While recordings of their performances.

PERSON’S NAME | PAGE 29

BOB DYL AN, 1962 PAGE 394 | PERSONS OF INTEREST | ISSUE 1

CHICK STERLIN, GEROGE SHUFFLER, JOHN COHEN, 1962 JOHN COHN | PAGE 395

GAL AX, VIRGINIA , 1961 PAGE 396 32 | |PERSONS PERSONSOF OFINTEREST INTEREST| |ISSUE ISSUE1 1

GAL AX, VIRGINIA , 1961 PERSON’S JOHN COHEN NAME| |PAGE PAGE397 33

Considered one of Mexico’s greatest artists, Frida Kahlo was born on July 6, 1907, in Coyocoan, Mexico City, Mexico. As a child, she suffered a bout of polio that left her with a slight limp, a chronic ailment she would endure throughout her life. In 1925 Kahlo was involved in a bus accident, which so seriously injured her that she had to undergo more than 30 medical operations in

her lifetime. During her slow recovery, Kahlo taught herself to paint, and she frequently read, studying the art of the Old Masters. In addition to her work, Kahlo was known for her tumultuous relationship with muralist Diego Rivera. Soon after marrying Rivera in 1929, Kahlo changed her personal and painting style. She began to wear the traditional Tehuana dress that became her trademark.

It consisted of a flowered headdress, a loose blouse, gold jewelry, and a long ruffled skirt.

She is a Mexican Painter best known for her uncompromising and brilliantly coloured selfportraits that deal with themes such as identity, the human body, and death. Although she denied the connection, she is often identified as a Surrealist.

SURREALIST/PAINTER

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PERSON’S NAME | PAGE 35

PAGE 400 | PERSONS OF INTEREST | ISSUE 1 SELF PORTRAIT WITH THORN NECKL ACE AND HUMMINGBIRD, FRIDA KHALO, 1940

PORTRAIT OF FRIDA’S FAMILY, FRIDA KHALO, 1940

ME AND MY PARROTS, FRIDA KHALO, 1941 THE TWO FRIDAS, FRIDA KHALO, 1939

MY NURSE AND I, FRIDA KHALO, 1937

PERSON’S NAME | PAGE 37

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THE BUS, FRIDA KHAL0,1929

FRIDA KHALO | PAGE 403

THE WOUNDED DEER, FRIDA KHALO, 1946

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FRIDA KHALO | PAGE 405

Working during the heyday of Abstract Expressionism, John Cage honed his skills amid the growing American avantgarde. Neither a painter nor a sculptor, Cage is best known for revolutionizing music by incorporating unconventional instrumentation and the idea of environmental music dictated by chance. His approach to composition was deeply influenced by Asian philosophies, focusing on harmony in nature and elements of chance. Cage is famous not only for his radical works, like 4’33” (1952), in which the ambient noise of the

recital hall created the music but also for his innovative collaborations with artists like Merce Cunningham and Robert Rauschenberg. These partnerships helped break down the divisions between the various realms of art production, such as music, performance, painting, and dance, allowing for new interdisciplinary work. Cage’s influence in groundbreaking stylistic developments key to contemporary art. It paved the way for postmodern artistic inquiries, which began in the late 1960s and further challenged the established definition of fine art.

JOHN CAGE

COMPOSER/MUSICIAN

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SOLO FOR PIANO P.21, JOHN CAGE, 2013

PERSON’S JOHNNAME CAGE| |PAGE PAGE43 2

His most famous piece:

4’33” PAGE 410 | PERSONS OF INTEREST | ISSUE 1

Cage conceived the piece in 1948, when he gave it the working title “Silent Prayer.”

The work’s manuscript declared that it was written “for any instrument or combination of instruments.”

of silence

After its first performance, It quickly became one of the most controversial musical works of the 20th century because it consisted of silence or, more precisely, ambient sound—what Cage called “the absence of intended sounds.”

4’33”, JOHN CAGE, COMPOSED 1952

JOHN CAGE | PAGE 411

SO N ATAS

Number 1

Number 2

Number 3

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&

I NTERL UD ES The Sonatas and Interludes are Cage’s prepared piano masterwork. Created in 1946–48 after the composer had been introduced to Indigenous visual and performing arts, the cycle was intended to represent the so-called permanent emotions— the heroic, the erotic, the wondrous, the comic, sorrow, fear, anger, and the odious—at the heart of Indian aesthetic theory and their movement toward tranquility.

Sonatas & Interludes for Prepared Piano, John Cage, Composed 1946-1948

Number 4

Number 5

JOHN CAGE | PAGE 413

Cheap Imitation Cheap Imitation is a work for piano derived from a 1918 dramatic composition by Erik Satie entitled Socrate, itself originally conceived for voice and orchestra. He wished to complete his transcription of the song, but was forbidden by the Publisher. To bypass the copyright problem, he modified the piece so that it has the same phrasing, rhythms, and even some of the general contours of Satie’s music, but which is otherwise completely distinct.

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Cheap Imitations, John Cage, Composed1969

Variations 1 Variations is a series of works by the American composer John Cage. A number of the pieces in the series are seminal examples of indeterminate music, others are happenings: performance pieces executed according to the score.

Variations 2

Variations 1&2,PERSON’S John Cage, Composed1959, 1961 NAME | PAGE 49

BERENICE ABBOTT

PHOTOGRAPHER

Berenice Abbott an American photographer known for her portraits and documentary photographs which stressed the communicative, educational value of photographic print.

She pursued a realist vision in recording history and her own historical experience in order to potentially affect change in her audience. Her photographs facilitated the interaction and dialogue between the photographer, the photographic print, and the viewer. Abbott’s realist approach to photography stems from her career as a portrait photographer in Paris as well as the influence of Eugène Atget’s PAGE 416 | PERSONS OF INTEREST | ISSUE 1

photographic realism. After eight years in Paris, Abbott moved to New York in 1929 to document the modern transformation of the city. The book Changing New York (1935-1938) received critical acclaim and has continued to resonate to this day.

BEHAVIOR OF WAVES, BERENICE ABBOT T, 1962 | PAGE PERSON’S NAME 51

WEST STREET, BERENICE ABBOT T, 1938, ARIEL VIEW OF NEW YORK (RIGHT), BERENICE ABBOT T, 1936 AUTOMAT (TOP RIGHT), 977 EIGHTH AVE, NY, BERENICE ABBOT T, 1936 EL (BOT TOM RIGHT), 2ND AND 3RD AVE. LINES, BERENICE ABBOT T, 1936 PAGE 418 | PERSONS OF INTEREST | ISSUE 1

PERSON’S NAME | PAGE 53

NEW YORK STOCK EHANGE, BERENICE ABBOT T, 1936

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PERSON’S NAME | PAGE 55

CANYON, BERENICE ABBOT T, 1936

PAGE 422 | PERSONS OF INTEREST | ISSUE 1 (LEFT) BOUNCING BALL WITH DIMINISHING ARCS,1958-1961 (RIGHT) BEAMS OF LIGHT THROUGH GL ASS, 1958-1961

BERNICE ABBOT | PAGE 423

CARRIE MAEWEEMS PHOTOGRAPHER

Considered one of the most influential American artists, Carrie Mae Weems has investigated family-relationships, cultural identity, sexism, class, political systems, and the consequences of power. Determined as ever to enter the picture—both literally and metaphorically—Weems has sustained an on-going dialogue within contemporary discourse for over thirty years. During this time, Carrie Mae Weems has developed a complex body of art employing photographs, text, fabric, audio, digital images, installation, and video. Weems, who is probably best known as a photographer, initially studied modern dance.

She received her first camera in PAGE 424 | PERSONS OF INTEREST | ISSUE 1

her 20s. She was influenced by the work of earlier African American photographers who documented the Black experience, notably Roy DeCarava. She began to refer to herself as the “image maker.”

Weems’s early images explored personal and familial themes and often were accompanied by text and audio recordings. Her work was exhibited frequently and is represented in such institutions as the Museum of Modern Art and the Metropolitan Museum of Art, New York City; the Museum of Contemporary Art, Los Angeles; and Tate Modern, London. In 2014 she became the first Black woman to have a retrospective at the Guggenheim Museum.

PERSON’S NAME | PAGE 59

ROAMING, CARRIE MAE WEEMS, 200 6

Roaming PAGE 426 | PERSONS OF INTEREST | ISSUE 1

Art is the one place we all turn to for solace —CARRIE MAE WEEMS

CARRIE MAE WEEMS | PAGE 427

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PERSON’S NAME | PAGE 63

The Kitchen Table Series These photographs feature a succession of staged scenes that explore female identity, experiences, and relationships in the context of a traditionally female domain.

Employing visual performance, image making, and a compelling narrative text, the powerful series provides a lens through which to view a woman’s life.

Kitchen Table 1

Kitchen Table 2

Kitchen Table 3

Kitchen Table 4

Kitchen Table 5

Kitchen Table 6

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The Kitchen Table Series, 1990

Kitchen Table 7

Kitchen Table 8

Kitchen Table 9

Kitchen Table 10

Kitchen Table 11

Kitchen Table 12

Kitchen Table 14

Kitchen Table 14

Kitchen Table 15

CARRIE MAE WEEMS | PAGE 431