Articles Tagged with: Claes Oldenburg
Arnold Newman | Portraits
Roy Lichtenstein, 1976 © Arnold Newman

Roy Lichtenstein, 1976 © Arnold Newman

If it’s a good photograph and says something about the person, than I think it’s a good portrait.

– Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

I wasn’t mimicking it (Mondrian’s style), I was echoing it. I did it deliberately and when he saw the results, he loved it. He gave me the original drawings of Broadway Boogie-Woogie. It was the only thing he could give me. I was stunned at the time.

The thing is I was trying to say with my photographs what Mondrian meant to me. That I would copy his work or anybody else’s in order to do it to me would be horrifying because I would be copying and not creating. A lot of people do that. The man by the way is stiff, linear and very formal, just like his own work.

– Arnold Newman

Truman Capote, 1977 © Arnold Newman

Truman Capote, 1977 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Movie stars, actors…all they have is themselves. They have no other ability but to go on and portray somebody else. They don’t know how to be themselves. And it becomes a very difficult thing. Very rarely a great artist, not rarely, but only a few of them can say I don’t really care, I have warts, photograph me with the warts.

– Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

I was acquainted with Carl at that time. He was working on the west coast, working on the words of Jesus in the Greatest Story Ever Told. He said come on out, let’s start work. I stayed with a friend of mine, a producer on a film, Something’s Got To Give. And that was of course the film that Marilyn didn’t finish.

I never saw the glamorous creature. Oh, I saw flashes of her in public and all that. But in the privacy of the home and wherever we were at, and later at my home, I saw nothing but a sad, sick girl.

– Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

You wait for things to happen. Let’s say, I think I would like to photograph you over here, how about you standing behind the desk for a moment for me, and they’ll do that. Now, let’s face it, if you’ve got a very irritable subject or a man who is pretty rough and tough, President Johnson specifically, why don’t you just stand there for a few minutes, you just can’t do that. As a matter of fact, he gave me fifteen minutes, of course I took forty five. The idea was was that I was loosening him up, to get him used to the idea of photographing. I had to take a risk, my first risk shots, my insurance pictures at the beginning. They were not bad, but they were stiff and he was uptight, looking at his watch mentally.

Later, I got him to relax, we were kidding, he leaned sort of like this as he was waiting for me to get my camera ready again, which before he was very upset that I wasn’t ready. I was doing this on purpose. Finally, when he was like this, I said, don’t move.

– Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

The worst people in the world, the real villains of today very often as Hitchcock said, hide in broad daylight, you just don’t recognize them. That’s the way Krupp was. He looked like a nice distinguished gentlemanly human being and he looked at my pictures and said, “Mr. Newman, I love your photographs so I think maybe we should take photographs.”

I worked this out where I got the lights to come under him, the usual thing. The result was that when I got him there, it was working but not really working. I had built a little platform of about two meters high, long enough to accommodate the both of us, him straddling a chair. I didn’t want to over do it. The lights were working beautifully but it just didn’t give me what I wanted. I went to Herr Bolen, that was his family name, “would you lean forward” and he leaned this way and my hair stood on end. There was the devil.

And they declared me persona non grata in Germany.

– Arnold Newman

Arthur Miller, 1947 © Arnold Newman

Arthur Miller, 1947 © Arnold Newman

John F. Kennedy © Arnold Newman

John F. Kennedy © Arnold Newman

Portraiture is a term that has taken on all these barnacles, all these terrible things that have happened to portraiture, on canvas, on stone, on metal, and then in photography. It’s something that is done to please the subject. A photographer is nothing more than a whore who does nothing but sit there thinking, will it please the subject, will i be able to sell him this picture, or will I be able to please him so he will buy it.

And the result is that little by little, people have begun to look down at portraiture, forgetting that the greatest artists in the world from Rembrandt, to Holbein, on up to Stieglitz and Strand, what have you, have all done portraiture and loved it. I happen to particularly love photographing people.

– Arnold Newman

Bill Clinton © Arnold Newman

Bill Clinton © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Well, I didn’t mean to make a series of photographs on artists. My intent was explicitly to experiment with portraiture. And I hate the word portraiture. I prefer to call it photographs of people.

When I came to New York, you have to understand, in 1938, things were still bad from the depression and there wasn’t much money. I was unknown. I had this desire to make photographs of people but I didn’t know anyone. The ones that I wanted to meet, the ones that seemed to me, gave me the greatest opportunity…the artists were absolutely perfect.

– Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Cartier-Bresson is not a photojournalist. He takes individual images if you really look at them.

– Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Course Stieglitz was a man who I greatly admired and I had no idea that I was going to meet him. I do remember the fact that kept using words like inventive but the word that he kept using was honesty. He kept urging me then and later to be honest.

– Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Great photographs are not made with a camera. They are made by a human being with a mind. And he uses a tool. If that tool cannot make a great work of art, then he discards the tool. As long as the tools are available to us to make something that satisfies us, we’ll use it, no matter how imperfect it is.

– Arnold Newman

I.M. Pei, 1967 © Arnold Newman

I.M. Pei, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

It all came to head in just a moment. I had been going to concerts and looking at various instruments. I had already photographed musical instruments in part and in whole and that sort of thing. Suddenly I realized that I had been admiring the shape of the piano and suddenly it hit me The piano shape – strong, hard, sharp, linear, beautiful in this strong harsh way was really the echo of Stravinsky’s work, his own music. When I thought about that, reflected on that, I thought where can I get a piano?

We found an editor who had a piano with a very simple wall, very simple background. I was able to manipulate the light on the background by simply taking one 1,000 watt light and moving it around until I got the exact light I wanted.

– Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

[For the Picasso image] I used a small portion of a 4×5 negative which was part of a series that I did. I love the whole photograph, I still think that that is a successful photograph. What I realized in examining the photograph, the most exciting thing was face and his eyes so I decided to blow up that little section and make that the full image. And I blew it up and it was so successful, the old story, less is more. The impact of that closely cropped head with those fantastic eyes increased the value of the picture instead of decreasing it and it probably became one of my best known photographs.

– Arnold Newman

Louise Nevelson, 1972 © Arnold Newman

Louise Nevelson, 1972 © Arnold Newman


Dennis Hopper, 1936 – 2010
Paul Newman, 1964 © Dennis Hopper

Paul Newman, 1964 © Dennis Hopper

I was a compulsive shooter back then. I was very shy, and it was a lot easier for me to communicate if I had a camera between me and other people.

-Dennis Hopper

Paris Woman, 1994 © Dennis Hopper

Paris Woman, 1994 © Dennis Hopper

I had been taking photographs because I hoped to be able to direct movies. That’s why I never cropped any of the photographs; they are all full-frame.

-Dennis Hopper

Jane Fonda, 1967 © Dennis Hopper

Jane Fonda, 1967 © Dennis Hopper

Like all artists I want to cheat death a little and contribute something to the next generation.

-Dennis Hopper

Bill Cosby (Chateau Marmont), 1965 © Dennis Hopper

Bill Cosby (Chateau Marmont), 1965 © Dennis Hopper

… but I was trying to go another way from the movie business. And I was taking pictures in black-and-white. Everyone else was using color. I was using Tri-X because I could shoot at night, and get shots by holding it real still, with just streetlights and so on. So these were things that I was playing with. But at the same time, a lot of my ideas were glamour ideas, because I wanted people to look good. So my portraits were about them in natural light, looking good, and looking in some way that had something to do with the reality of their world.

-Dennis Hopper

Jefferson Airplane, 1965 © Dennis Hopper

Jefferson Airplane, 1965 © Dennis Hopper

There are moments that I`ve had some real brilliance, you know. But I think they are moments. And sometimes, in a career, moments are enough. I never felt I played the great part. I never felt that I directed the great movie. And I can`t say that it`s anybody`s fault but my own.

-Dennis Hopper

Robert Rauschenberg, 1966 © Dennis Hopper

Robert Rauschenberg, 1966 © Dennis Hopper

You know, the history of California art doesn’t start until about 1961, and that’s when these photographs start. I mean, we have no history out here.

-Dennis Hopper

Brian Jones, 1965 © Dennis Hopper

Brian Jones, 1965 © Dennis Hopper

Most of the guys who were heavy on drugs and stuff — the rockers, and all that — we’re all out playing golf and we’re all sober. It is weird.

-Dennis Hopper

Tuesday Weld, 1965 © Dennis Hopper

Tuesday Weld, 1965 © Dennis Hopper

The high points have not been that many, but I’m a compulsive creator so I don’t think of the children first, I think of the work. Let’s see, I guess, Easy Rider, Blue Velvet, a couple of photographs here, a couple of paintings . . . those are the things that I would be proud of and yet they ’re so minimal in this vast body of crap — most of the 150 films I’ve been in — this river of shit that I’ve tried to make gold out of. Very honestly.

-Dennis Hopper

Jean Tinguely, 1963 © Dennis Hopper

Jean Tinguely, 1963 © Dennis Hopper

Then I had Easy Rider, and I couldn’t get another movie, so I lived in Mexico City for a couple of years. I lived in Paris for a couple of years. I didn’t take any photographs, and then I went to Japan and saw a Nikon used. I bought it, and I just started, like an alcoholic. I shot 300 rolls of film. That was the beginning of me starting again, and then I went digital.

-Dennis Hopper

Biker Couple, 1961 © Dennis Hopper

Biker Couple, 1961 © Dennis Hopper

I’d love to be in a Coen Brothers film, or something by Curtis Hanson — did you see 8 Mile? a terrific little movie — but I’ve never worked for Lucas or Spielberg. You could name most of the directors in Hollywood I’ve never worked for. I am not offered any of the roles that Jack Nicholson gets or Warren Beatty gets, or any of these people get, and never have been and never will. So when you ask me about playing villains and would I like to play other things, I think, God, I’m just lucky if I get a villain part every once in a while.

-Dennis Hopper

Biker, 1961 © Dennis Hopper

Biker, 1961 © Dennis Hopper

I think of that with my photographs. I think of them as ‘found’ paintings because I don’t crop them, I don’t manipulate them or anything. So they’re like ‘found’ objects to me.

-Dennis Hopper

Bruce Conner (in tub), Toni Basil, Teri Garr and Ann Marshall, 1964 © Dennis Hopper

Bruce Conner (in tub), Toni Basil, Teri Garr and Ann Marshall, 1964 © Dennis Hopper

When it first started, it was inferior and the inks weren’t archival. As soon as the inks became archival, I went digital. To me, it’s like the difference between developing something in chemical or being able to spray the light. It’s like painting with light, and the computer is reading the light. When a digital photograph looks right, it looks like it was painted.

-Dennis Hopper

Claes Oldenburg (Portrait with Cake Slices), 1965 © Dennis Hopper

Claes Oldenburg (Portrait with Cake Slices), 1965 © Dennis Hopper

I started out shooting flat, on walls, so that it had no depth of field, because I was being photographed all the time as an actor. And if you notice, there aren’t a lot of photographs [in the show] of actors — Dean Stockwell, Paul Newman. I thought I was an imposition to the actors who were being photographed all the time. I really wanted the flat-on-painter kind of surface. I did that for a long time. Then the artists. I really started taking photographs of artists. They wanted me to take photographs. They wanted posters and things. I was hanging out with them. I photographed the ones I thought were going to make it. I wasn’t really working as an actor during this period, and I thought, Well, if I’m not going to be able to work as an actor, I might as well be able make something that’s going to be credible. So I took photographs of Martin Luther King and Selma, Montgomery, as history, and selecting artists that I thought would make it. I met most of the Pop artists before they ever had shows.

-Dennis Hopper

Andy Warhol and members of the Factory (Gregory Markopoulos, Taylor Mead, Gerard Malanga & Jack Smith), 1963 © Dennis Hopper

Andy Warhol and members of the Factory (Gregory Markopoulos, Taylor Mead, Gerard Malanga & Jack Smith), 1963 © Dennis Hopper

I didn’t use a light meter; I just read the light off my hands. So the light varies, and there are some dark images. Also, I’m sort of a nervous person with the camera, so I will just shoot arbitrarily until I can focus and compose something, and then I make a shot. So generally, in those proof sheets, there are only three or four really concentrated efforts to take a photograph. It’s not like a professional kind of person who sets it up so every photograph looks really cool.

-Dennis Hopper

Ed Ruscha, 1964 © Dennis Hopper

Ed Ruscha, 1964 © Dennis Hopper

Well, I was a compulsive creator, so it became my creative outlet. I was using Tri-X film — which nobody else was using at the time — because I wanted to get as much natural light as possible and be able to shoot everything in natural light without flashes. I was a product of the movie business …

-Dennis Hopper

Irving Blum and Peggy Moffitt, 1964 © Dennis Hopper

Irving Blum and Peggy Moffitt, 1964 © Dennis Hopper

I was doing something that I thought could have some impact someday. In many ways, it’s really these photographs that kept me going creatively.

-Dennis Hopper

Self-portrait at porn stand, 1962, © Dennis Hopper

Self-portrait at porn stand, 1962, © Dennis Hopper

I am just a middle-class farm boy from Dodge City and my grandparents were wheat farmers. I thought painting, acting, directing and photography were all part of being an artist. I have made my money that way. And I have had some fun. It’s not been a bad life.

-Dennis Hopper