“It’s no good to be occupied over 90 percent.”. You just don’t worry about it; it’s all treated as one assignment. Stoller: That’s the way we work. One of our leading members, who was angling for a job at the EPA — I suspect he fancied himself another Roy Stryker, so he was going to get that job — was trying to get the Society to waive its minimums for the EPA. EZRA STOLLER (1915-2004) STOLLER, EZRA (1915-2004) "Main Gallery and Exhibition Ramps of the New Solomon R. Guggenheim Museum, … Aug 18, 2015 - This Pin was discovered by Industryous Photography. “Photography as an art doesn’t interest me an awful lot.” Even so, he raised architectural photography to an art form, capturing the smooth lines of American modernism in its heyday, as well as lesser known industrial images. “He had a very sympathetic committee of idiots.”. Stoller: That also can be set very well. Stoller: That camera was put together for work that I do abroad without an assistant. Ezra Stoller's interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. And the property thing was also done through the business. He needed type for texture on the page. I personally think that wet photography is going to disappear; it’s completely impractical in this modern world, polluting. Stoller: Well, through the architects for the most part. Stoller: I deliver what I’ve shot. The title of Adams book suggests as much. Ezra Stoller was a american architecture photographer who was born in Chicago in 1915. Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. lt’s very difficult for a photographer to monitor all of the uses of photography and to sort his from other people’s. See, read and understand that life in our new book, Philip Johnson: A Visual Biography, by ordering your copy here. It would pay the expenses of ASMP, and more. Mon Compte. And whatever standards we had, the young people, who were just coming up, would always cut below the standards; they had to have the work. Stoller: They could sell them, give them away, do whatever they wanted. It was a series of tents and what you did was you just walked up ramps to level places and looked at pictures and he said that he noticed that the people visiting that museum never stopped on a ramp; they always stopped on a level place. And when he laid out a story, you could read that story from his pictures and you didn’t need a word of type. And I suppose that it will keep going that way. But the printing company, of course, was having trouble. James Johnson Sweeney subject files, 1961-1968. 1 1 1 1. Stoller: Well, Bradley was one of the charter members. From 1971 to 1973, he served as ASMP’s president. Ezra Stoller was born in Chicago in 1915, grew up in New York and studied architecture at NYU. There’s this book… I don’t see a copy of it here. Kay Reese and Mimi Leipzig, ASMP. Stoller: I think Arie was somebody that Larry had brought in. Of course there’s such a thing as a buy-out. Biography. Stoller: Before I was president, but I could see it was happening. Stoller: Well, he elevated them. Ezra STOLLER (1915-2004) Ezra STOLLER (1915-2004) 4-PIECE COLLECTION OF EZRA STOLLER PHOTGRAPHS GM. Then I just go and shoot — always keeping an antenna up for the unusual shot; it’s not as cut and dried as all that. And what finally put the kiss on the whole thing was I discovered that, when a member died, Larry would promptly go to the funeral. So what I did — and this was kicking and screaming at the Board and everybody else — I had this whole thing elucidated on a referendum: Are we to continue Infinity or not? ©The Ezra Stoller Archive/Esto Chase Manhattan Bank, 1961 Then again, from roughly 1955 on, Bunshaft was SOM and vice versa. And, occasionally, a thing would come along, they’d discuss it — and, of course, he had great friends amongst the writers — and he would do a thing on railroad box cars or whatever. ©The Ezra Stoller Archive/Esto Chase Manhattan Bank, 1961 Then again, from roughly 1955 on, Bunshaft was SOM and vice versa. If modernism sought to give us Le Corbusier’s “machine for living in,” photographer Ezra Stoller, who died in 2004, used the camera as a machine for living through. It happens periodically. Artprice.com's price levels for this artist are based on 69 auction results. (Text by William Saunders; published by Harry N Abrams in 1990 and reissued 1999; costs about $35 used, $75 new.) ASMP: Were you using the film strips to teach, Ezra? And secondly, to encourage clients to commission more work, even if they thought they might not use it. Studied architecture at NYU. Now directed by his daughter, Erica Stoller, Esto arranges new assignments for architectural photographers and manages a comprehensive stock photography archive. I thought they should be absolutely free of those worries, so that they could concentrate on the job. Silver Gelatin Print - 12 x 10.25. I notice he’s not on the list any longer, or wasn’t at that time. My first job was to photograph the new music shed at Tanglewood that Eero Saarinen had done. The criterion is how much flexibility you have. Ezra Stoller have position among the list of 2433 famous Photographer. He listened and listened and he said, “Hey, this is like the Polish Republic — every man a baron.”. ASMP: Abrams did the National Geographic anniversary book and ran into a lot of arguments and trouble. Some guys will work for $100 a day. Carry it on. Stoller: I’ve never talked to Yale, and I wouldn’t, because [Professor Vincent] Scully is one of the villains in my …. He would never suggest pictures for his story before he sent me out on assignment. And I threw myself on Jerry’s mercy and collected some money for the Welfare Fund. But my suggestion and advice is that, no matter how unimportant it seems, you should never get involved with a publisher, unless you have an agent. I was curious about the fact that Avedon was a member. And sometimes I’m so unhappy that, if there’s an occasion to do the job over again, I go and do it over again. Stoller: I recently met a photographer in Miami. Ezra Stoller I am going to do a bullet point list of the infomation on Ezra Stoller that i have got from this web site : .Born in Chicago 1915 . And in the meantime, the Society was slowly sinking in the mud, because it had no direction and it had no treasury. Ezra Stoller (1915-2004) Miami Parking Garage, 1948. ASMP: So you have an honorary membership in the …. Stoller: American Institute of Architects. I was wickedly attacked for going over the editor’s head, and here I was the president of the Society and it was the Society’s neck that was on the block. His work featured landmarks of modern architecture, and Stoller is often cited in aiding the spread of the Modern … His work featured landmarks of modern architecture, including Ludwig Mies van der Rohe's Seagram Building, Frank Lloyd Wright's Fallingwater, Alvar Aalto's Finnish Pavilion at the 1939 New York World's Fair, and Eero Saarinen's last project Bell Labs Holmdel Complex. And they didn’t like that. He represented the illustrators and worked with other groups. Larry worked hard. During his studies at New York University in the 1930’s Stoller bought his first camera and it was a purchase that marked a dramatic shift in the trajectory of his career. And, as I say, my efforts came to naught, even though I became president. “This is like the Polish Republic — every man a baron.”. You see, IBM had budgets like anybody else — until you got up on the corporate level. I was in an elevator at Rockefeller Center one time, and two gentlemen and a man who obviously worked at Rockefeller Center came in the elevator. The title of Adams book suggests as much. I was working for the Upjohn Company; they had a little magazine they got out, and Will Burtin, who was my great friend, a marvelous man, said they wanted to get a documentary set of pictures of Kalamazoo. In his later years, Stoller founded Esto Photographics, a commercial photography firm currently directed by his daughter Erica Stoller. Stoller: Since that time, they probably have become commercially available, but I haven’t kept up with the field. Another thing, I was very naive. STOLLER, EZRA. And Sweeney and Wright would have these terrible battles. Stoller: First of all, he convinced me that I ought to join. I’m not eligible; I’m too old for the ASMP program. They can do the same thing — they’ve always been able to do the same kind of work — with an air brush and one thing and another, but the basic rights of the guy who sees and creates the image are always going to be the same. And I don’t know if they ever looked at the magazine; it was worthless. But to me the purpose of the Society was simply this: You cannot go out on an assignment unless you know you’re secure. He wanted to know if I would be president. He worked for Western Electric, which was part of the phone company, so he could make phone calls for nothing. That would be a great feather in his cap, so the EPA could get his work done. In ‘38 and ‘39, if you wanted 8×10 enlargements you had to go to people like photostat houses and you got quality that was about photostat quality, so we had our own. Akiko Busch is the author of several books, including Geography of Home: Writings on Where We Live. “There’s no such thing as embarrassment to me.”. Les cotes et indices de l'artiste établis par Artprice.com reposent sur 69 adjudications. Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Stoller: They didn’t change it enough. ASMP: When you were talking about minimums, what kind of minimums were you talking about? Related Books. A monograph of his work, Modern Architecture: Photographs Of Ezra Stoller, published in 1990, wasreissued in 1997. ASMP: Has the copyright law made a difference in your business? They had no more idea of giving us space than the man in the moon. Ezra Stoller was born in Chicago in 1915, grew up in New York and studied architecture at NYU. TWA Terminal at Idlewild (now JFK) Airport, Eero Saarinen, New York, NY. Whatever kind of photographs they’re going to make, it’s always that eye and that brain that create the image. ASMP: It’s absolutely typical of any membership group, and in this case, peoples’ jobs were at stake. In between are 50 to 60 duotone photos and a few plan drawings. Ezra Stoller's interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. After his graduation in 1939, he concentrated on photography. A monograph of his work, Modern Architecture: Photographs Of Ezra Stoller, published in 1990, wasreissued in 1997. Interviewed by Mimi Leipzig and Kay Reese, May 30, 1991. Stoller was born in Chicago. The edifices covered include the Chapel of Ronchamp, the United Nations, the Seagram building, the TWA terminal, the Salk building, Wright’s Fallingwater and Taliesin West, the Whitney Museum, the Beinecke Library of Yale University and the two Guggenheim museums (New York and Bilboa). See available photographs, design, and prints and multiples for sale and learn about the artist. Ezra Stoller has 19 books on Goodreads with 396 ratings. I knew no other photographers, as a matter of fact; I was curious as to some of them and got to meet them. And Helen and I got 60 bucks to go up there, and free tickets to the concert. Stoller: I have three, but I don’t use them any more. There were all sorts of things going on at the same time. I will value looking through this book for years, it is a picture book which delights immediately with promise with greater eximation. But the main thing is that you get paid when it’s used; and as many times as it’s used, you get paid. He’d been doing cinematography and he had the camera and the lenses. I was trained as an architect at a time when functional architecture was the credo, so everything I do is supposed to have a functional basis: do a job of work. ASMP: ASMP’s Guide to Business Practices clarifies a lot of these issues. They owed the printer so much money that I went up — I think it was to Danbury, where the printer was — and had a meeting with them about this whole thing. Born in Chicago in 1915, Ezra Stoller began taking photographs of buildings, models and sculpture to support himself while studying to be an architect at the New York University School of Architecture. The Lumiere Brothers Center for Photography is presenting to the Russian public, for the first time, the work of the outstanding American architectural photographer of the 20thcentury—Ezra Stoller. It was one of the services that the ASMP could afford — at a fee, at a percentage, which would pay the expenses. I just gave one away, and one I keep for sentimental reasons, because when I was in the Army, Paul Strand had it and he used it because he didn’t have a camera at that point. ASMP: That sounds like a very intelligent plan. Ezra STOLLER (1915-2004) is an artist born in 1915 The oldest auction result ever registered on the website for an artwork by this artist is a photography sold in 1997, at Swann Galleries, and the most recent auction result is a photography sold in 2019. See more ideas about Stoller, Architecture photography, Architecture. Born in Chicago in 1915, Ezra Stoller began taking photographs of buildings, models and sculpture to support himself while studying to be an architect at the New York University School of Architecture. An Interview with Ezra Stoller May 30, 1991. Stoller: Of course. I’ll tell you a little story. Every year we would do that. A spectacular visual biography of one of the most celebrated architects and cultural icons of the twentieth century. Stoller: Popular taste. So this guy said he had been to this museum, this temporary exhibit that Le Corbusier had done in Paris. Their method of operation is different. The magazines were slowly going under, were dying, and were stopping the big magazine photography. I thought, well, that’s a good thing to do. When I saw things were going badly, I hesitated to do it. ASMP: Have you had an exhibition of your work recently? Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. I remember some very bloody meetings that I attended. Stoller: No, as an alternative to having stuff published in magazines and things of that sort. I know what the sun does at different times of the year. Stoller: I don’t know if he respected anybody, but I got along with him. And what happens from there on in, however the printer uses it, however the designer distorts it, it’s a photograph that originated with a photographer. We used to — and still do — spend time in the West Indies. But I generally don’t over-shoot. Ezra Stoller was born in Chicago on May 16, 1915. And I couldn’t write about architecture, because I can’t spell. Stoller was born in Chicago. But instead, the call was from Morris Gordon. ESTO - founded in 1966 by Ezra Stoller now headed by his daughter, Erica Stoller. Assuming that I understood what she wanted, I had to please myself. Thanks Pinkville :-) above are some pages I found (not to mention his own numerous books). Stoller: Erica [Stoller, his daughter] has somebody who is selling prints for me. ASMP: So, when you say building something, you mean building a building? In 1961 ASMP: Don Shepherd, ASMP’s insurance man for a long time, told us about how very proud he was to be working with a group of former Army buddies, and he thought the insurance programs were very important in getting the ASMP started. It would give people a chance to work. While Stoller's photographs have become one of the primary records of midcentury architecture, never before have so many of them been published in a single tome. I forget who the executive secretary was then … Regina Benedict. I used to think of them just as a bunch of taxi drivers, everybody in the business. ASMP: Did you see some of the books from Bradley’s booth? The first time the American Institute of Architects awarded a medal for architectural photography, in 1961, it was given to Ezra Stoller. Stoller: With 8×10, what you do is, you go on a job and you may wander around and look at the job for two days — certainly for a day; you never shoot the first day. “I, on the other hand, could almost only work on assignment.”. With his elegant suits and trademark round black glasses, Philip Johnson - a witty, wealthy, and well-connected architect - was for many years the most powerful figure in the society and politics of his profession. There was a photographer around who had a studio on the East Side. He writes about this wonderful town that he’s doing and how modern architecture …. It was saddled with a publication called Infinity, which absorbed all the money the Society had. Established in 2000, Yossi Milo Gallery is dedicated to providing a platform for an influential community of artists working in all media, including photography, painting, sculpture, video and drawing. TWA Terminal, Idlewild Airport, 1962. Most architects have a form in their mind and they look for an excuse to use it. Stoller: Well, not carry it on; it’s a little big for that. ASMP: I’d like to know about the Welfare fund. It was shifting. Expenses have to come off first, and that generally is half the cost of a job. “The secret is to deliver more than they ever expected to see.”. He was drafted in 1942 and worked as a photographer at the Army … Well, generally, the decision was made by the architect, but they knew that they had to stay on my good side. As I said, my interest in the Society was pretty strictly an economic one. “He would never lay out a story until the pictures were in.”. Stoller: The very first thing is, the man gets his expenses. I knew none of the other people, none of the other photographers and I was curious about some of them. And they said, “Don’t worry about that, all the photographers object to that.” This was a special contract that was being written. That’s true of an architect and it’s true of a photographer; it’s true of almost anybody. Architects have that fatal arrogant misconception of fact that they, with what they build, are affecting the culture and the civilization. Esto has also partnered with Artstor to share the archive of Wayne Andrews. And, of course, they’d do them for a lot less, because he’s a very meticulous worker. I’d never heard of him. But my own particular strength was, I was rarely the choice of the editors who hired me. I think what he was doing was showing them space, and they asked him about the rate of occupancy at Rockefeller Center. And I heard Wright say to somebody who has had something to say about the Guggenheim — He’d just come from Paris and he’d seen a temporary exhibit. Stoller: There were all sorts of problems and that’s all I remember. It’s another technique, you see. ASMP: By that time, was not there a code with a minimum day rate of $100? A picture was stolen, and the insurance paid for the whole thing. It will all be electronic, ultimately, and photographers will have to understand that. November 18, 2004. ASMP: With 1,200 members in New York alone, it’s quite a scrimmage, and that’s only a small portion of the freelancers who are competing for assignments. During World War II, he taught photography at the … But my point was to encourage people to work and not deliberately break the Code, which they were doing all the time. ASMP: That’s the way to travel. This particular edition is in a Hardcover format. Pour en savoir plus sur Ezra Stoller, parcourez ses œuvres dans les galeries, ses lots mis aux enchères, son actualité et bien plus encore. Dec 31, 2015 - Explore Ran Moneta's board "Ezra Stoller" on Pinterest. ASMP: So you don’t use the 8×10 cameras at all anymore? Through almost half my career, I used the 8×10 camera, and then I got down to a 4×5, which simplified the technique somewhat. “Oh, Stoller, he can do that because he’s got special clients.” But even today it needs doing. Stoller: Well, Will Burtin was my best friend. Another point that can be made is that, traditionally, people took this job [as ASMP president] as a way of enhancing their own positions. 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