U of S | Mailing List Archive | alt-photo-process-l | Proust in the Power of Photography (was fresson, or whatever. )

Proust in the Power of Photography (was fresson, or whatever. )

             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 -----
From: "Judy Seigel" <jseigel@panix.com>
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