Proust in the Power of Photography (was fresson, or whatever. )
Judy,
Do you like Proust ? (Aime vous Proust ?)
= French
I remember reading some reference to photography in, ''Within a Budding
Grove.''
Your amusing and thought provoking style of writing
strongly reminds me of the work of Marcel Proust, mostly by the way
a simple statement can be expanded offering many side tracking options for
thought. Proust's words conjure a miriad of visual images which can sometimes be
a little ''confusing'' if one is unable to, properly, pay
attention.
So, to cut long story short, I have ordered from Amazon
UK, to arrive next Tuesday, ''Proust in the Power of
Photography'' by Brassai.
''I was never confused''. Al Murray. British
comedian.Time Gentlemen, please. )
John - Photographist - London - UK.
----- Original Message -----
Sent: Sunday, January 13, 2008 3:38 AM
Subject: RE: Fresson question
> On Sat, 12 Jan 2008, Dave S wrote:
>
>>>
For all that I've
>>> read (and written! -- as in P-F #9) about the
Fresson
>>> Process, I don't recall having seen an actual
Fresson.
>>
>> Judy, you certainly have seen actual Fresson
prints. Sheila Metzner.
>> Remember? She came to your class as a guest
and showed her Fresson prints. I
>> read it from this list!
:-)
>
> Wow Dave-- what a memory ! I want you on my side
! However, it wasn't my
> class, it was my friend Cynthia's class
at Cooper Union, and I was invited
> ... I suppose I'd been curious about
Fresson. Cynthia also invited me when
> she had Louis Faurer, whose work
I adore...The students did not "get" or
> really respond to Faurer, or
have any inkling of the man's talent (dare I
> say genius?). Cynthia
& I took him to dinner afterward which was (for me)
> a
thrill.
>
> As for Metzner, I never "got" her at all, not finding
her supposedly
> beautiful things the least bit interesting OR
beautiful. The "fresson"
> prints looked like regular color
photographs to me, except maybe
> larger...which might just show my own
lack of sensitivity, tant pis, but
> there it is.
>
> The
only other thing I remember (which I probably reported at the time)
>
was, sitting at an angle across the room, I noticed a white haze on part
> of one print & asked about it. Sheila said she'd told them a
section of
> the print was too dark, so she supposed they'd laid a thin
white coating
> over it. (She hadn't noticed it before.)
>
>
But, speaking of what I don't get that the world adores, first prize goes
> to Jan Grover (sp?). Due to means beyond my control, I saw her
solo of
> pots and pans at MoMA some years ago. I found it deadly --
dull, obvious,
> cliche'd, pretentious and inane would be wild
praise. The Grover show I
> saw today was 60 times (by actual math)
worse -- also kitchen equipment,
> but less attractive and "creative" --
a lot of fudgy looking metal printed
> by Light Jet. I can only surmise
that "the world" is looking for something
> "arty," and will take
whatever comes down the pike flying that flag as the
> real
thing.
>
> However, what brought me to the 6th floor of 160
Broadway where I
> encounted the Grovers was a show of cliches verres,
"The Hand-Drawn
> Negative" by Corot, Daubigny, Delacrois, Millet & 1
or 2 others at Peter
> Freeman Inc. These were so fabulous,
sublime, luscious, and adjective
> adjective adjective, they almost
hurt. Did I say I'm going to try the
> medium? Most were "salt
prints" (brown) exposed through negs drawn on
> (maybe collodion). Also
some carbon prints (black).
>
> The work is a private collection
being sold as a group -- who has
> influence at the Met? We
deserve/need it in NY... (It will probably go
> to, like Texas... boo
hoo.) Anyway, it's up til next Saturday.
>
>
Judy
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