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France,
Paris,
1989,
Eiffel
Tower
100th
Anniversary
California,
1955
by
Elliott
Erwitt
Elliott
Erwitt
Marilyn
Monroe
Marilyn
Monroe
Elliott
Erwitt
Photos
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2
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4
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Elliott Erwitt Biography
Art
Encyclopedia:Elliott
Erwitt
(b Paris, 26 July 1928). American photographer and film maker. He
studied film at the New School for Social Research, New York, from 1948
to 1950. From 1951 to 1953 he worked as a photographic assistant for
the US Army Signal Corps and under Roy Stryker (1882-1975) at the
Standard Oil Company, New Jersey, from 1950 to 1952. From 1953 he was a
freelance photographer and film maker and a member of the Magnum
photographic agency. Although he was highly successful in the field of
advertising, his international reputation was based on his personal
work. His street photographs, wry and quirky narratives, concentrated on
the vagaries of human existence. They often relied heavily on visual
puns. Unrelated and sometimes bizarre events, for example the small dog
captured in mid-air in Ballycotton, Ireland (1968; see Photographs and Anti-photographs, p. 48), are held together within the 35 mm frame by strong graphic and formal compositions. Erwitt's films include Dustin Hoffman, Arthur Penn: The Director, Beauty Knows No Pain and Red, White and Bluegrass.
Phtography
Encyclopedia:Elliott
Erwitt
Erwitt,
Elliott
(Elio
Erwitz;
b.
1928),
American
photographer.
The
son
of
Russian
immigrants,
Erwitt
was
born
in
Paris
but
lived
as
a
boy
in
Milan,
New
York,
and
Hollywood.
At
the
New
School
for
Social
Research,
New
York,
he
studied
film-making.
Roy
Stryker,
for
whom
he
worked
on
documentation
shoots
with
Standard
Oil,
recognized
his
considerable
talent.
Erwitt
quickly
became
sought
after
both
by
editors
in
the
advertising
world
and
as
a
photojournalist.
He
joined
Magnum
in
1953
(and
became
its
president
in
1966)
and
travelled
and
photographed
widely.
The
Chaplinesque
Erwitt
is
a
master
of
what
John
Szarkowski
has
called
the
‘indecisive
moment’,
black-and-white
images
of
people
and
animals,
most
often
dogs,
captured
in
seemingly
insignificant
instances
in
everyday
settings.
The
subtle
results
are
frequently,
though
not
always,
comic.
Ever
insistent
that
his
work
speak
for
itself,
Erwitt
never
labels
his
photographs
except
with
geographical
location
and
date.
This
reticence
belies
his
capable
writing
style,
and
a
number
of
his
many
books
contain
insightful
observations
on
the
world
and
photography.
Erwitt
has
noted,
with
some
wistfulness,
that
he
will
probably
be
remembered
only
as
a
photographer
of
dogs.
Anyone
familiar
with
his
work
will
disagree.
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Elliott
Erwitt Biography
Art Encyclopedia:Elliott Erwitt
(b Paris, 26 July 1928). American photographer and film maker. He
studied film at the New School for Social Research, New York, from 1948
to 1950. From 1951 to 1953 he worked as a photographic assistant for
the US Army Signal Corps and under Roy Stryker (1882-1975) at the
Standard Oil Company, New Jersey, from 1950 to 1952. From 1953 he was a
freelance photographer and film maker and a member of the Magnum
photographic agency. Although he was highly successful in the field of
advertising, his international reputation was based on his personal
work. His street photographs, wry and quirky narratives, concentrated on
the vagaries of human existence. They often relied heavily on visual
puns. Unrelated and sometimes bizarre events, for example the small dog
captured in mid-air in Ballycotton, Ireland (1968; see Photographs
and Anti-photographs, p. 48), are held together within the 35 mm
frame by strong graphic and formal compositions. Erwitt's films include Dustin
Hoffman, Arthur Penn: The Director, Beauty Knows No Pain
and Red, White and Bluegrass.
Wikipedia:Elliott Erwitt
Elliott Erwitt (b. 26 July 1928 Paris,
France)
is an advertising
and documentary
photographer known for his black and white candid shots of ironic
and absurd
situations within everyday settings -- the master of the "indecisive
moment". Early life
In 1939, at the age of ten, Erwitts familly, of Jewish-Russian
origin, emigrated to the United
States. Erwitt studied photography and filmmaking at the Los
Angeles City College and the New
School for Social Research, finishing his education in 1950.
Photography
career
Born in Paris of Jewish-Russian
immigrant
parents, Erwitt served as a photographer's assistant in the 1950's in
the United
States Army while stationed in France and Germany. Erwitt was
influenced by his meeting the famous photographers, Edward
Steichen, Robert
Capa and Roy
Stryker. Stryker, the former Director of the Farm
Security Administration's photography department, hired Erwitt to
work on a photography project for the Standard
Oil Company. Erwitt then began a freelance
photographer career and produced work for Collier's,
Look,
Life
and Holiday
magazines. Joining the Magnum
Photos agency in 1953 allowed Erwitt to shoot photography projects
around the world.
Filmmaking career
Since the 1970s, he has devoted much of his energy toward movies. His
feature
films, television
commercials, and documentary
films include "Arthur Penn: the Director" (1970), Beauty Knows
No Pain (1971), Red, White and Bluegrass (1973) and the
prize-winning Glassmakers
of Herat,
Afghanistan (1977). He was, as well, credited as Camera
Operator for "Gimme Shelter" (1970), Still Photographer for "Bob Dylan:
No Direction Home" (2005), and provided Addition Photography for "Get
Yer Ya Ya's Out (2009). [1]
Notable
photographs
- USA, New
York City, 1946 - Streetlevel shot comparing the size of a
woman's feet to a sweatered chihuahua.
- USA, North
Carolina, Segregated
Water Fountains, 1950.
- USA, New York City, 1953 - Image of Erwitt's wife looking at
their baby on a bed lit by window light.
- USA, NYC, Felix, Gladys, and Rover, 1974 - Image of a woman's
booted feet between that of a Great
Dane's legs and a little chihuahua.
- USSR, Russia, Moscow, Nikita
Khrushchev and Richard
Nixon, 1959 - Powerful Cold War image in which Nixon is poking
his index finger at Khrushchev's suit lapel.
- USA, California, 1955 - Image of a side-view mirror of an
automobile parked facing a beach sunset, with a playful couple shown in
the mirror as the focal point.
Books
- Photographs and Anti-Photographs, 1972.
- Observations on American Architecture, 1972.
- Elliott Erwitt: The Private Experience. (In the series
"Masters of Contemporary Photography", text by Sean Callahan.) Los
Angeles: Petersen, 1974. ISBN
0-8227-0070-0 Sean Callahan describes and to some extent explains
Erwitt's work.
- Son of Bitch, 1974. Photographs of dogs.
- Recent Developments, 1978.
- Personal Exposures. 1988.
- On the Beach, 1991.
- To The Dogs, 1992.
- The Angel Tree, 1993.
- Between the Sexes, 1994.
- 100+1 Elliott Erwitt, 1997.
- Dog Dogs, 1998 A collection of black and white photographs of
dogs Erwitt was intrigued by throughout his world travels.
- Museum Watching, 1999.
- Snaps. London & New York: Phaidon, 2001. ISBN
0-7148-4150-1 A large anthology (over 500 pages) of Erwitt's work.
- EE 60/60, 2002.
- Elliott Erwitt's Handbook, 2002.
- Woof, 2005.
- Elliott Erwitt's Rome, 2009
External links
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Photography Encyclopedia:Elliott
Erwitt
Erwitt, Elliott (Elio
Erwitz; b. 1928), American photographer. The son of Russian
immigrants, Erwitt was born in Paris but lived as a boy in Milan, New
York, and Hollywood. At the New School for Social Research, New York, he
studied film-making. Roy Stryker,
for whom he worked on documentation shoots with Standard
Oil, recognized his considerable talent. Erwitt quickly became
sought after both by editors in the advertising world and as a
photojournalist. He joined Magnum
in 1953 (and became its president in 1966) and travelled and
photographed widely. The Chaplinesque Erwitt is a master of what John Szarkowski has called the ‘indecisive
moment’, black-and-white images of people and animals, most often dogs,
captured in seemingly insignificant instances in everyday settings. The
subtle results are frequently, though not always, comic. Ever insistent
that his work speak for itself, Erwitt never labels his photographs
except with geographical location and date. This reticence belies his
capable writing style, and a number of his many books contain insightful
observations on the world and photography. Erwitt has noted, with some
wistfulness, that he will probably be remembered only as a photographer
of dogs. Anyone familiar with his work will disagree. — Tim Troy |
