It’s Winningham who introduces Winogrand, saying “Welcome to the Winogrand circus,” and then Winogrand asks for questions from the students. He talks about how he works, his approach to different subjects, and the work of other photographers (Robert Frank, Walker Evans, Bruce Davidson–at 21:44: “[East 100th Street] is sickening…morally, it’s sickening, and photographically it’s just a goddamned bore,” and others). It’s a wide-ranging and very informal talk, but offers a fascinating perspective from Winogrand about his own work and others’.
If you don’t have two hours to spare right now, check out the 16-minute highlight reel (which doesn’t have any footage of Winogrand himself) at the National Gallery of Art.
And searching for this video today, I ran across this question and answer session at MIT with Winogrand in 1974. It starts with a short lecture by Tod Papageorge. There’s a transcript in an old post at 2point8 or on Google Docs. Winogrand’s often a bit enigmatic. Asked about whether he still likes some of his older pictures, he responds, “The one’s I’m interested in, I’m interested in. That’s all I can say.” Some of the audience members aren’t too happy with the vague responses and ask him why he’s answering questions the way he does. It’s a fun listen.
Pavel Timofeevich Andreichenko – Poslanie-70 – “I wish for them to always move upward, never down. And also for them to always have good health. Yes, that’s all good. We’ve already outlived ourselves. We’ve done everything already.”
Lidiya Nikolaevna Gerasimova – Poslanie-70 – “Be honest and don’t look for shortcuts. Live according to your own conscience, and don’t be ashamed of that. I believe that there is a force that punishes those to do wrong.”
Viktor Aleksandrovich Petrov – Poslanie-70 -“I wish that young people would never have to experience what we experienced during the war. I wish that they always have blue skies above them, and that’s first above all. I wish that they can live their lives as they want and be people. Man…that sounds good.”
Anastasiya Nikolaevna Krylova – Poslanie-70 – “You have to remember those who gave their youth for the happiness of future generations. And don’t forget the veterans who are still alive…we have very, very little. Visit them, listen to their life story, because you won’t find it in any book. If necessary, help the veterans!”
Leonid Lukich Rybakov – Poslanie-70 – “I wish everyone good health, and most importantly that there is no war. Be polite and cultured, respect one another and the elderly. Don’t drink too much, don’t smoke…especially girls. It’s ugly when a woman smokes. May you all live in peace in friendship, but, most importantly, without war.”
Nadezhda Aleksandrovna Goncharova – Poslanie-70 – “Keep peace, so that there is no war or the experiences I lived through: hunger, fear, and the death of close friends. The only thing that helped me was my youth.”
Ivan Fyodorovich Podoprigora – Poslanie-70 – “When you’re young, try to learn as much as you can. Only knowledge will bring success and happiness in life.”
Through a few Russian photographer friends on facebook, I ran across the fascinating project Послание-70 last week. The name translates to “Message-70” and it’s a series of portraits and short interviews with Russian veterans of World War Two (known in Russia as the Great Patriotic War). For the 70th anniversary of the end of the war, hard fought on the Eastern Front in Russia, a group of Russian photographers (mostly freelancer photojournalists) came together under the name Vasily Terkin, the hero of Alexander Tvardovsky‘s great war epic, to photograph surviving veterans of the war. When you navigate through the site, the red text next to the portraits (or gray in the gallery above) are veterans’ responses when asked to give advice to younger generations. The larger text, below each portrait, comprises some of the veterans’ recollections from the war. More than 50 photographers from 30 cities across Russia participated in the project
The website is only in Russian for now, but Google Translate does a decent job with getting the general idea across. You will need to copy and paste excerpts, though; it doesn’t seem to work when you try to translate the whole page. I’ve translated the quotes in the above gallery, so you can read the veterans’ advice to youth in the captions.
I was intrigued by the project, so I reached out to ask some of the photographers involved how this all came about. Anton Karliner, a young photojournalist based in Novosibirsk, Russia, involved in the project, answered a few questions. The interview was conducted over email and facebook in English, and I’ve made a few minor corrections to grammar in Karliner’s responses. Our conversation is below.
M. Scott Brauer: First, a bit about the project. How many photographers were involved? How were the chosen? How did you decide on the style of presentation (both photography and writing)? How did you keep it consistent across all of the photographers?
Anton Karliner:First of all, I want to highlight the fact that I’m not a “leader” or “curator” of the project. Im just one of the authors. We all have the same rights, it’s truly a collective work and this is pretty much the idea. Speaking about how it actually worked, firstly we had some kind of a “core” – a group of young photographers mostly involved in Misha Domozhilov‘s course in documentary photography at Fotodepartment.Institute, with Misha himself as well. We discussed the idea for some time and then, as it was clear, we invited reliable photographers from all possible regions of Russia. Everyone could invite. So, at the end it was more than 50 photographers from more than 30 cities (which is unique for a group photography project, I would say!). At the first phase we continued to discuss the style we want to keep, we did some sample shoots, it was a lot of discussion and then, as things were set, we just had to introduce them to newcomers. As you can see, our visual language is not very complicated, so it wasn’t a big problem.
I’ve never seen a coalition of photographers publish a project under a single name. Sometimes agencies and collectives work together, but the way this was done turns the photographers into a single author. Why?
The idea of doing some kind of “anonymous” group project came from the very beginning. And the reason is very simple – we want to give a voice to veterans, not to express our personality in pictures. When you sign the photographer’s name near to the picture, it starts to influence the viewer. So we prefer to stay under the name of the book’s hero. It may sound vain – but this is maybe a true documentary photography. We don’t want to interpret and express ourselves, we only document things and then present them to the viewers like this.
I’m a student of Russian literature, but don’t know much about the poem “Vasily Terkin.” (here’s an excerpt with English translation. The name may also be written as Vasily Terkin or a similar variation.) Is that where the name comes from? Was he a real person? Could you talk about why that name was chosen to represent the authors of this work?
Vasily Terkin is the name of the hero of the Alexander Tvardovsky (famous Soviet poet and writer) poem. Vasily Terkin wasn’t a real man, it’s an image of the Soviet soldier during WW II. Tvardovsky constructed his hero from the soldier’s types he met in the battlefields. Tvardovsky worked as a journalist during the war, and the “Vasily Terkin” poem chapters were printed weekly in military newspapers and soldiers could read it. The poem was extremely popular, also because there wasn’t a lot of ideology inside, Stalin wasn’t mentioned at all, for example. That’s how Vasily Terkin’s image – a simple, but wise and honest man, who can survive during the hardships of war time and also express his thoughts in humorous and metaphorical way became very popular in USSR. This is why we’ve chosen his name.
Poslanie-70 seems like a journalistic project, so it strikes me as a little strange that journalists would insert themselves into the story of war by naming themselves after a representation of heroism in the war. Is this a work of journalism or something else? How should viewers consider the work if it is presented under the name of a participant in the war (or at least a representation of the war)?
I understand your question. And yes, our project is a documentary project. But I think that it’s in a bit of a different field. We don’t try to investigate the sides of this war, who was right and who wasn’t (speaking of which, we believe that Nazism is the most terrible thing ever happened). We try to preserve the memories of those who defeated the evil. So, I don’t think that this pseudonym makes us less objective here.
In the US, where I’m from, veterans have special status in society. People are very grateful and respectful of what soldiers did for their country. Is that the same in Russia? Do ordinary Russians respect and revere WW2 veterans in a similar way?
For sure, WWII veterans (or Great Patriotic War veterans, as we call it) have a lot of respect in Russia. There are a lot of veteran organizations which do their best to make veterans’ life better. There are also many volunteers who help veterans in very different ways. Sometimes the state fails to make everything possible for them, but simple citizens do. The sad thing is that there are very few veterans left. Even some of the heroes of our project passed away already.
Were most of these veterans featured in the project drafted into the military, or did they volunteer? Does that change how they think about their military service?
Most of veterans who we took pictures of volunteered in some way. Most of them were younger than 18 years old when the war began. But there were also those who were already doing their military service before the war began [Note from MSB: Russia has had compulsory military service of some sort since imperial times). I didn’t have an impression that it changed their attitude. Many of them told us that they felt duty to protect their homeland.
I’ve seen similar projects on American veterans that pair contemporary portraits of the veterans with photos of them at the time of their service. A project like this is necessarily about their deeds in history, but you don’t show pictures of them then. Did you ask the veterans how they would prefer to be represented? That is, in a modern portrait of how they survived life and war, or if they’d prefer a portrait from their time in ww2?
We didn’t ask them for their war portraits, but that could be an interesting addition, I think. But in our project we have another goal – we want to show them now. Their wrinkles, scars and eyes tell a lot about their history as well.
This project as you have presented it is very much about the Soviet Union. You’ve taken the name of a Soviet hero, you’re exploring a very significant part of Soviet history, the uniforms are Soviet uniforms. But the Soviet history is a complicated one with both great and terrible things done under Soviet banners. I don’t know who all of the photographers involved are, but I’m sure many of them don’t even remember Soviet times. What is it like to look back and celebrate this history when current politics are so removed from the politics of that time? I guess, looking at American history, for instance, that many or most people would think (or hope) that current American politics is very closely allied with the American politics driving our participation in the war, but that might not be the case with Russians.
I see your point. But I have to say that the importance of WW2 for Russia isn’t connected with Soviet ideology only. I mean, there are some people who are very nostalgic about Stalinism, but most of the veterans say that they didn’t fight for Stalin (or for Stalin only, at least); they fought to protect their homeland and their beloved ones. The interesting thing about this period is that war united all people, independent of their political views, nationality, etc. That’s why these 4 years stay apart from the Soviet history (which, I can agree, is very double-sided). So, it’s not about Soviet ideology, I would say. And you can see that many of the veterans even don’t wear their old uniforms at the photos.
What did the veterans think about putting on their old uniforms?
Well, some of them are very proud to wear their uniforms and others don’t want to put on their medals – they say that they remind them of the terrible events of war. So, it depends.
The website for the project is wonderful. What other plans do you have for presenting the work? Book? Exhibitions?
Thanks! We plan to redesign the website, actually, we took much more portraits (about 230) and we want to add them. We also plan to make a book, for sure. Now we’re looking for possibilities. We also want to translate the site into English, hope it will happen soon. And we continue to shoot! We don’t want to stop now, there’s a lot of work to be done.
Thanks to Anton Karliner for talking about the project. Spend some time with the Послание-70, if only to look at the portraits. You should also check out Fotodepartment.ru to get a feel for current Russian photography.
The Museum of the City of New York has unveiled an online collection of ~5000 of Stanley Kubrick’s photos from his time on staff at LOOK magazine between 1945 and 1950. While not quite as easily searchable as Yale’s FSA project, there’s a lot of fun to be had just clicking from page to page. Small collections of Kubrick’s photography have been passed around on blogs over the years (here or here) but this collection includes 129 of the young Kubrick’s assignments. And while only about 5,000 of the images are online now, the collection totals about 15,000 pictures. Oh, and you can order pretty affordable prints from the collection.
Between 1945 and 1950, Stanley Kubrick worked as a staff photographer for LOOK magazine. He was not yet Kubrick, the famous film director; he was just Stanley, the kid from the Bronx with an uncanny photographic sensibility. Only 17 years old when he joined the magazine’s ranks, he was by far its youngest photographer. Kubrick often turned his camera on his native city, drawing inspiration from the variety of personalities that populated its spaces. Photographs of nightclubs, street scenes, and sporting events were amongst his first published images, and in these assignments, Kubrick captured the pathos of ordinary life in a way that belied his young age. The Museum’s collection contains 129 of Kubrick’s assignments for the magazine, encompassing more than 15,000 individual images, the vast majority of them never published.
If you want to see the influence of Kubrick’s photography in his films, you’d do well to find a copy of his early noir The Killing. IMDB has a few stills to give an idea of the look of the film.
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