Beyond his mastery of the craft, however, Henle was driven by a lifelong urge "to show people beauty." "I am obsessed," he said, "by showing them beauty."".
A driven perfectionist with inexhaustible curiosity about people, Arnold Newman was one of the twentieth century’s greatest and most prolific photographers. In a career that spanned nearly seven decades and produced many iconic works, Newman became renowned for making “pictures of people” (he objected to the term “portraits”) in the places where they worked and lived—the spaces that were most expressive of their inner lives. Refusing the label of “art photographer,” Newman also accepted magazine and advertising commissions and executed them to the same exacting standards that characterized all of his work. He spent countless hours training aspiring photographers, sharing his own vast experience, but allowing them the freedom to experiment and discover. Rich with materials from Newman’s extensive archive in the Harry Ransom Center at the University of Texas at Austin, Arnold Newman offers unprecedented, firsthand insights into the evolution of the photographer’s creativity. Reproduced here are not only many of Newman’s signature images, but also contact sheets, Polaroids, and work prints with his handwritten notes, which allow us to see the process by which he produced the images. Pages from his copious notebooks and calendars reveal Newman’s meticulous preparation and exhausting schedule. Adsheets and magazine covers from Holiday, LIFE, Newsweek, Look, Esquire, Seventeen, Time, and Sports Illustrated show the range of Newman’s largely unknown editorial work. Roy Flukinger provides a contextual overview of the archive, and Marianne Fulton’s introduction highlights the essential moments in the development of Newman’s life and work.
Norm Diamond photographed the last months of a dilapidated, yet beautiful old gym in Dallas, Texas. These stark images could have come from another era. They evoke themes of memory and loss. No modern gym looks like this. The owner, Doug Eidd, a grizzled 87-year-old, opened the gym in 1962. He could have emerged from a time capsule as well. In the spring of 2018 when he was forced to close the gym on short notice, Diamond stayed to photograph the removal of the equipment as Doug's Gym drifted into memory.
Stanley Marcus was known the world over as an innovative marketer and retailer with a refined sense of taste and style whose leadership transformed his family's Dallas clothing store, Neiman Marcus, into a globally recognized arbiter of fashion. However, his refined sensibility was also expressed in a very private passion for photography, shared only with family and close friends. Marcus's daughter Jerrie Marcus Smith and his granddaughter Allison V. Smith celebrate this passion in Reflection of a Man, a representative selection of the thousands of photographs Marcus shot on business trips in Europe, on vacations in Mexico, and during family celebrations. These photographs underscore what we already know about the man in terms of an eye for elegance, a preoccupation with merchandising, and an enthusiasm for the enjoyment of life, but they also reveal a talent for capturing the purity of a moment and memorializing instances of beauty. In addition to the photographs, Oscar de la Renta, the couture fashion designer, relates his experience with the master of the art of the sale; Jack Lenor Larsen, the dean of modern fabric design, pays tribute to his long friendship with Marcus; and Roy Flukinger, Senior Research Curator of Photography at the Harry Ransom Humanities Research Center at the University of Texas at Austin, critiques Marcus's photographs.
A driven perfectionist with inexhaustible curiosity about people, Arnold Newman was one of the twentieth century’s greatest and most prolific photographers. In a career that spanned nearly seven decades and produced many iconic works, Newman became renowned for making “pictures of people” (he objected to the term “portraits”) in the places where they worked and lived—the spaces that were most expressive of their inner lives. Refusing the label of “art photographer,” Newman also accepted magazine and advertising commissions and executed them to the same exacting standards that characterized all of his work. He spent countless hours training aspiring photographers, sharing his own vast experience, but allowing them the freedom to experiment and discover. Rich with materials from Newman’s extensive archive in the Harry Ransom Center at the University of Texas at Austin, Arnold Newman offers unprecedented, firsthand insights into the evolution of the photographer’s creativity. Reproduced here are not only many of Newman’s signature images, but also contact sheets, Polaroids, and work prints with his handwritten notes, which allow us to see the process by which he produced the images. Pages from his copious notebooks and calendars reveal Newman’s meticulous preparation and exhausting schedule. Adsheets and magazine covers from Holiday, LIFE, Newsweek, Look, Esquire, Seventeen, Time, and Sports Illustrated show the range of Newman’s largely unknown editorial work. Roy Flukinger provides a contextual overview of the archive, and Marianne Fulton’s introduction highlights the essential moments in the development of Newman’s life and work.
Beyond his mastery of the craft, however, Henle was driven by a lifelong urge "to show people beauty." "I am obsessed," he said, "by showing them beauty."".
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