JM (@realitymagic)님이 트윗을 공유했습니다:
“munse_books: 시선은 선택이다. 뭔가를 응시한다는 것은 거기에 시선을 집중하겠다는 뜻이다. 따라서, 필연적으로, 시야의 나머지 부분은 관심 범위에서 제외하겠다는 뜻이 된다. 이렇기 때문에 생명의 본질인 시선은 무엇보다, 거부이다. 『이토록 아름다운 세 살』”
—http://twitter.com/munse_books/status/136355295415898112
JM (@realitymagic)님이 트윗을 공유했습니다:
“munse_books: 수많은 시편들 중 지워지지 않는 빛나는 시구는 시인이 살았던 시대의 반영이자 시인이 그토록 찾았던 ‘그 무엇’이다. 자신이 살았던 시대를 어떻게 형상하느냐에 따라 그 ‘무엇’은 시인에게 다양한 시구로 각인된다. 『벼락치듯 나를 전율시킨 최고의 시구』”
—http://twitter.com/munse_books/status/135132229083987968
He may have been one of the single most influential photographers of all time, but Henri Cartier-Bresson was not so interested in having his own picture taken. When Loengard was dispatched to Paris to photograph Cartier-Bresson to publicize an exhibition of his early photos at the Museum of Modern Art, “he asked whether all of the pictures could be taken from behind,” Loengard recalls. Loengard got two clear pictures of Cartier-Bresson’s profile in Paris, but on a disappointing visit to his summer house in Provence, the great lensman hid most of his face with his hand whenever Loengard tried to photograph him. Then fortune smiled on Loengard. Having observed her husband’s elusiveness, Cartier-Bresson’s wife, the noted photographer Martine Franck, suggested Loengard pass by the house the next day on his way to the airport. That morning, she dug out a kite that Cartier-Bresson used to fly with their teenage daughter. Says Loengard, “She urged him to fly it for me.”
6 months ago
The Beatles had just learned that their single “I Want to Hold Your Hand” had hit No. 1 in the U.S. when Benson took this photo at the Hotel George V in Paris. “Frame #5 is the only good one on the roll,” Benson, shown here holding the negative, told Loengard. “It changed my way of working…I wasn’t afraid to create a theatrical situation, to set things up to illustrate a point.”
6 months ago
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