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John Szarkowski


Full Name and Common Aliases

John G. Szarkowski is widely known by his given name, but some sources also refer to him as J. G. Szarkowski.

Birth and Death Dates

Born on December 28, 1920, in Hamtramck, Michigan, USA, John Szarkowski passed away on June 7, 2010, at the age of 89.

Nationality and Profession(s)

Szarkowski was an American art historian, critic, curator, and photographer. He served as the director of photography at The Museum of Modern Art (MoMA) in New York City from 1962 to 1999.

Early Life and Background

Growing up in a working-class family, Szarkowski developed an early interest in photography, which led him to attend Michigan State University. After serving in World War II, he worked as a photographer for the US Army Air Forces, capturing images of aircraft and airfields. Following this experience, Szarkowski began his career as an art critic, writing about photography for various publications.

Major Accomplishments

Szarkowski's tenure at MoMA was marked by significant contributions to the field of photography. He organized numerous exhibitions that showcased the work of prominent photographers, including Ansel Adams, Edward Weston, and Diane Arbus. His curatorial efforts helped establish photography as a respected art form within the museum.

Notable Works or Actions

Szarkowski's own photographs were also exhibited at MoMA, often in conjunction with works by other artists. Some notable exhibitions he organized include:

The Photographer's Eye (1963): This show highlighted Szarkowski's concept of the photographer as an artist.
Photography Until Now (1989): A comprehensive survey of photography from its early days to the present, featuring over 1,000 images.
* Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art (2003): An exhibition and accompanying book that explored the museum's vast collection.

Impact and Legacy

Under Szarkowski's leadership, MoMA's photography department became a driving force in shaping the field. His influence extended beyond the museum walls, inspiring generations of photographers and curators to pursue their careers.

Why They Are Widely Quoted or Remembered

Szarkowski is widely quoted for his insightful writings on photography and its role in society. His quotes often underscore the importance of art in communicating human experience. As a curator, he helped redefine the boundaries of photography as an art form, paving the way for future generations to push the medium's creative potential.

His legacy continues to inspire artists, curators, and enthusiasts alike, ensuring that John Szarkowski remains a celebrated figure in the world of photography.

Quotes by John Szarkowski

John Szarkowski's insights on:

A photographer’s best work is, alas, generally done for himself.
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A photographer’s best work is, alas, generally done for himself.
What’s happening is that people are making a billion photographs a year of their cats, frequently with the cats wearing costumes. Do you think I should be doing shows of cat photography?
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What’s happening is that people are making a billion photographs a year of their cats, frequently with the cats wearing costumes. Do you think I should be doing shows of cat photography?
Speaking of photography Baudelaire said: “This industry, by invading the territories of art, has become art’s most mortal enemy.” And in his own terms of reference Baudelaire was half right; certainly the new medium could not satisfy old standards. The photographer must find new ways to make his meaning clear.
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Speaking of photography Baudelaire said: “This industry, by invading the territories of art, has become art’s most mortal enemy.” And in his own terms of reference Baudelaire was half right; certainly the new medium could not satisfy old standards. The photographer must find new ways to make his meaning clear.
Photography is the easiest thing in the world if one is willing to accept pictures that are flaccid, limp, bland, banal, indiscriminately informative, and pointless. But if one insists in a photograph that is both complex and vigorous it is almost impossible.
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Photography is the easiest thing in the world if one is willing to accept pictures that are flaccid, limp, bland, banal, indiscriminately informative, and pointless. But if one insists in a photograph that is both complex and vigorous it is almost impossible.
It isn’t what a picture is of, it is what it is about.
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It isn’t what a picture is of, it is what it is about.
Luck is the attentive photographer’s best teacher.
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Luck is the attentive photographer’s best teacher.
The basic material of photographs is not intrinsically beautiful. It’s not like ivory or tapestry or bronze or oil on canvas. You’re not supposed to look at the thing, you’re supposed to look through it. It’s a window.
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The basic material of photographs is not intrinsically beautiful. It’s not like ivory or tapestry or bronze or oil on canvas. You’re not supposed to look at the thing, you’re supposed to look through it. It’s a window.
Most of Tina Modotti’s work that is known to the photography world was done in Mexico in the years 1923 through 1926, when she lived and worked with Edward Weston.
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Most of Tina Modotti’s work that is known to the photography world was done in Mexico in the years 1923 through 1926, when she lived and worked with Edward Weston.
Photography is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere...
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Photography is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere...
Photography’s central sense of purpose and aesthetic: the precise and lucid description of significant fact.
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Photography’s central sense of purpose and aesthetic: the precise and lucid description of significant fact.
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