maandag 27 maart 2017

Seltsame Spiele Tajiri Leonard Freed 1/100 Dutch Photographic Publications from the Wingender Collection Photography


Leonard Freed: Seltsame Spiele. 1970. Wie der Bildhauer Tajiri Mädchen und Metall zähmt. Ein Fotobuch von Leonard Freed.

Verlag Bärmeier and Nikel. 1970. First edition, first printing. Leonard Freed is a famous Magnum photographer, wellknown for great photobooks like "Deutsche Juden heute" (Thomas Wiegand, Manfred Heiting, Deutschland im Fotobuch, page 138/139) and "Leonard Freed`s Germany (Thomas Wiegand, Manfred Heiting, Deutschland im Fotobuch, page 456/457). Softcover (as issued). 205 x 275 mm. 125 pages. Black and white photos. Text in german. Leonard Freed was born in 1929 in Brooklyn, New York, to a working-class Jewish family from Eastern Europe. He began taking photographs in 1955, while travelling in Europe. In 1972 he joined Magnum Photos. Many of Freed’s photographs have been published in the international press, including Der Spiegel, Der Stern, The London Sunday Times Magazine, GEO, L’Express, Libération, The New York Times Magazine, and Fortune. Leonard Freed passed away in 2006.


Collectors Mania 1/100 Dutch Photographic Publications from the Wingender Collection Photography

This publication highlights over 70 hidden gems from the Wingender collection, one of the most comprehensive collections of Dutch photobooks today. Since 1956 Jan Wingender accumulated 7000 photobooks, ranging from the 19th century to now.

The collection comprises photo books by photographers such as Ed van der Elsken and Eva Besnyö, as well as rare vernacular publications such as photographically illustrated company books, schoolbooks, and political pamphlets. As such it offers an overview of a rapidly transforming visual culture in the Netherlands, and makes the development of applied Dutch photography insightful. The collection was acquired by the Nederlands Fotomuseum in 2013.





'Concerned photographer' with eye for the unexpected
Sat, Dec 9, 2006, 00:00

Leonard Freed:The name of the American Leonard Freed, who has died aged 77, became synonymous with that of the "concerned photographer". In the wake of the second World War, photojournalism became increasingly involved with human rights and, in Freed's case, with civil rights in his homeland.

As a documentarist of the situation of African-Americans, he always had an eye for the unexpected and upbeat, often in the grimmest of circumstances.

He followed the years of struggle by the National Association for the Advancement of Colored People (NAACP) against segregation and discrimination, photographing Martin Luther King jnr and his great march across the US from Alabama to Washington; equally, his image of children playing around a water hydrant in New York became an icon, along with those of daily life in that city, still effectively segregated by ghettoisation in the 1950s and 60s.

Freed spent years photographing behind the scenes with the police department in the 1970s; when his famous resulting exhibition, The Spectre of Violence, was shown at London's Photographers' Gallery in 1973, it was as though the viewers were coming upon the actual scene of a murder.

They entered the gallery through black curtains, and a flash went off as they found a "corpse" at the bottom of a stairwell; the surrounding scenes were mounted on hardboard backing, dramatically involving the audience in a life-sized restaging.

Stylistically, this series was in the arresting, flashlit tradition of an earlier New York photographer, Weegee (Arthur Fellig).

But 1972 was also the year in which Freed joined Magnum, the Paris-based photo agency founded in 1948 by Bob Capa, George Rodger, "Chim" Seymour and Henri Cartier-Bresson. It was to be a lifelong relationship, for Magnum photographers have always adhered to their own humanistic precepts and social awarenesses.

Preferring - like most of his fellow Magnum members - to work in black and white, and using available light, Freed contributed to the key picture magazines of the postwar period, including Life, Look, Fortune, Libération, L'Express, GEO, Paris-Match, Die Zeit, Der Spiegeland the Sunday Timesmagazine.

He also shot four films for Dutch, Belgian and Japanese television, including The Negro in America(1968) and Joey Goes to Wigstock(1992).

Born into a humble Jewish family of east European extraction in Brooklyn, Freed originally wanted to become an artist. He attended the New School and studied with the legendary art director of Harper's Bazaar, Alexey Brodovitch - and it was in Brodovitch's "design laboratory" that Freed discovered his true vocation. As soon as he finished his studies, he took off for two years, hitch-hiking through Europe and north Africa.

This led in 1959 to his first book, Joden van Amsterdam (Jews of Amsterdam), a first one-man photo exhibition, at Hilversum in the Netherlands, and his decision to become a full-time freelancer shortly afterwards.

The interest in the Jewish diaspora and in Israel became a revisited theme for Freed. In 1965 he published Deutsche Juden Heute (German Jews Today), and in 1967 and 1973 he covered the six-day and Yom Kippur wars in the Middle East. There followed Black and White in America(1968); Seltsame Spiele (Strange Games, together with Shinkichi Tajiri, 1970); Made in Germany (1970); Police Work(1980; expanded as New York Police, 1990); and a major retrospective work, Leonard Freed: Photographies 1954-1990(1991).

Exhibitions accompanied and alternated with the books and films. These ranged from What is Man?, shown at the Benedictine convent at Cockfosters, north London, to Native Americans, a group show at the state capitol building in Albany, New York.

The former was cast in the mould of The Family of Man, Edward Steichen's travelling exhibition which intended to demonstrate, less than a decade after the second World War, that "People are people the world over: everywhere different and everywhere the same."

Perhaps What is Man? was Freed's response to Steichen, who, as director of the Museum of Modern Art, had first told Freed that he was one of the three best emerging photographers he had met.
Purchasing three images for his prestigious collection there, Steichen warned Freed that the other two had "turned commercial" and that he should either remain an amateur or "preferably, become a truck driver".

Freed chose neither option, determining instead to turn his vocation into a career. At the 1967 opening of the Concerned Photographer exhibition, curated by Cornell Capa and in which he showed with five of his peers, he announced: "Suddenly, I feel as if I belong to a tradition. To see life, see the world, be witness to great events, peer into the faces of the poor, the mad, to understand the shadows of the jungle, hidden things, to see, to rejoice in seeing, to be spiritually enriched."

It was a journey that took him to document Asian immigrants in Newcastle and oil workers in the North Sea, travellers in eastern Europe and Hassidic communities and black people in New York slums - always pursuing content and context over form and subjectivity.

Sue Davies, founder director of London's Photographers' Gallery, has informal memories of how Freed spent time in London in the early 1970s: "In my family album I have a picture he took at a wedding reception of my husband John waving a chicken leg in the air."

Jimmy Fox, picture editor at Magnum in Paris, recalls the small, dark, crinkle-haired man with big glasses: "During 38 years Leonard Freed was always polite, efficient, co-operative and smiling. He was open to other opinions and had a great interest in human behaviour, without being malicious or self-appropriating. The description 'Concerned photographer' fitted him like a glove."

Freed claimed that "Photography is still in its infancy . . . challenging in that [ it leaves] one free to be original." But, in truth, he and his Magnum colleagues are among those who brought the medium to maturity. He is survived by his wife, Brigitte Klueck, whom he married in 1958, and daughter Elke.
Leonard Freed: born October 23rd, 1929; died November 11th, 2006.

























woensdag 22 maart 2017

Masscheroen Hugo Claus Ed van der Elsken 1/100 Dutch Photographic Publications from the Wingender Collection Photography


Masscheroen
Claus, Hugo; Van Der Elsken, Ed
Published by De Bezige Bij, Amsterdam, 1968
64 page softcover, w/many photographs by Van der Elsken.

In the spring of 1968 Hugo Claus was officially charged with public indecency. The fact that he had staged three naked men in his play Masscheroen, could not be tolerated by to the conservative judiciary in Flanders. The lawsuit caused a great fuss within the artistic milieu : art and literature had regularly been censored and something had to be done. Inspired by the activist élan of May’68, Claus and his colleagues chose to act upon their artistic commitment. Through cheerful happenings and poetic protest evenings they fought for the autonomy of art and literature.

In het voorjaar van 1968 werd Hugo Claus aangeklaagd wegens openbare zedenschennis. In zijn toneelstuk Masscheroen had hij drie naakte mannen laten optreden en dat kon volgens de conservatieve rechterlijke macht in Vlaanderen niet door de beugel. De zaak leidde tot veel ophef binnen het artistieke milieu : kunst en literatuur werden eind jaren zestig veelvuldig gecensureerd en dat werd niet langer geaccepteerd. Aangestoken door het activistische elan van mei’68 besloten Claus en zijn collega’s zich artistiek geëngageerd te tonen. Door middel van vrolijke happenings en poëtische protestavonden bevochten zij de autonomie van kunst en literatuur.


Collectors Mania 1/100 Dutch Photographic Publications from the Wingender Collection Photography

This publication highlights over 70 hidden gems from the Wingender collection, one of the most comprehensive collections of Dutch photobooks today. Since 1956 Jan Wingender accumulated 7000 photobooks, ranging from the 19th century to now.

The collection comprises photo books by photographers such as Ed van der Elsken and Eva Besnyö, as well as rare vernacular publications such as photographically illustrated company books, schoolbooks, and political pamphlets. As such it offers an overview of a rapidly transforming visual culture in the Netherlands, and makes the development of applied Dutch photography insightful. The collection was acquired by the Nederlands Fotomuseum in 2013.

















zaterdag 18 maart 2017

De Jong & Van Dam NV 1912-1962 Kousenfabriek Jovanda Ed van der Elsken 1/100 Dutch Photographic Publications from the Wingender Collection Photography


de jong & van dam
Publisher: De Jong & Van Dam NV, Hilversum
Year of publication: 1962
Binding: perfect binding
Size: 350x260mm
Number of pages: 28
Number of illustrations: 31 black & white photographs
Type of illustrations: company profile; staged, fashion and product photography
Printer: Steendrukkerij de Jong & Co, Hilversum
Type of reproduction: offset
Photography: Ed van der Elsken
Design: Jan Bons
Text: Jan Bons (company history, handwritten)
Type: commemoration publication (50 year anniversary)
Collection: Jan Wingender, Leusden/the Netherlands Fotomuseum, Rotterdam

The company photobook de jong & van dam (1962) appeared in the same year as De verbinding [The connection], likewise at Steendrukkerij De Jong & Co in Hilversum in offset print and is compiled by Jan Bons (1918-2012) and Ed van der Elsken (1925-1990). Van der Elsken made some colloquial fashion photographs and a reportage incorporating the company profile. Jan Bons joined the full-page bleeding photos seamlessly. In 1960, Jan Bons and Ed van der Elsken were co-founders of the magazine Twen. Partly for this reason matches are visible between both publications: both the folio size as the font has de jong & van dam in common with this non-conformist magazine for young people. The text is set in Clarendon. Manufacturer of machine-made seamless stockings, De Jong &Van Dam in Hilversum commissioned this seminal company photobook.

Van der Elsken heeft vrijwel geen bedrijfsfotoboeken gemaakt maar dit is zeker de fraaiste.
Het is ook één van de zeldzaamste boeken van Van der Elsken.
Het boek bevat 20 pagina-grootte foto's [inclusief voor en achterzijde] van een nog jonge Ed van der Elsken, opgenomen in de kousenfabriek Jovanda, wat staat voor de Jong & van Dam NV, in Hengelo ter gelegenheid van het vijftig jarig jubileum.
Ontwerp van Jan Bons. Gedrukt door Steendrukkerij de Jong en Co te Hilversum.


Collectors Mania 1/100 Dutch Photographic Publications from the Wingender Collection Photography

This publication highlights over 70 hidden gems from the Wingender collection, one of the most comprehensive collections of Dutch photobooks today. Since 1956 Jan Wingender accumulated 7000 photobooks, ranging from the 19th century to now.

The collection comprises photo books by photographers such as Ed van der Elsken and Eva Besnyö, as well as rare vernacular publications such as photographically illustrated company books, schoolbooks, and political pamphlets. As such it offers an overview of a rapidly transforming visual culture in the Netherlands, and makes the development of applied Dutch photography insightful. The collection was acquired by the Nederlands Fotomuseum in 2013.




De firma De Jong & van Dam n.v. aan de Waarbekerweg 96 te Hengelo (O) is opgericht in 1912 door Salomon Philip de Jong, geb. 12-08-1871 Hengelo (O), overleden 22-12-1944 te Bergen-Belsen, Duitsland. Hij huwde op 2 maart 1903 te Keulen met Friederike Steinthal (geb. 1879 Weilburg, Hessen, Duitsland). Samen met A. en J. van Dam richtten zij de "Eerste Nederlandse Kantfabriek" op in Hengelo. De fabriek die heeft bestaan van 1912 tot 1970, is in 1916 omgezet in: “De Jong & van Dam N.V.”. Uit het dossier omzetbelasting blijkt dat De Jong & Van Dam samenwerkten met Jansen de Wit Schijndel en Danlon Emmen e.a.

Dorpsfilm Vlagtwedde, school, bedrijfsleven en winkeliers. Beelden van een zwembad: zwemles en schoonspringen; vrouwen aan het werk in kant- en kousenfabriek Jovanda (de Jong & Van Dam N.V.); manufacturenwinkel Wijbrandts; Hotel Café Restaurant J. Beijering; patiënten bij huisartsen praktijk Bloem. Kinderen spelen op een schoolplein: bokjespringen.



See also 

The Icons of Dutch industrial photography books 1945 1965