APOLLO
Making History

Nearly half a century since Neil Armstrong became the first man to step foot on the Moon, the NASA photographs from the Apollo missions remain as awe-inspiring as when they were first seen.
 
Playing out against a backdrop of Cold War tension, the Apollo programme comprised seventeen missions with the goal of landing humans on the Moon and returning them safely to Earth. Racing for both nuclear weapons and the moon, the USSR and the United States competed to prove their ideological and technological superiority.
 
One of the motivations for photographing the missions was to produce visible evidence of these successful ventures: enduring images for study and enjoyment.
The astronauts and scientists involved with the Apollo missions must surely have known they were making history, but perhaps they may not have anticipated how beautiful that history would be, and how cherished.
 
Apollos VII and IX orbited the Earth, whereas Apollos VIII and X orbited the Moon, returning photography of the lunar far side and a series of stunning Earth Rise pictures. This view of our planet from space inspires serenity – a new sense of perspective, of our place in a vast and mysterious cosmos.
 
The world held its breath while Apollo VIII was in the shadow of the moon. While this was an American endeavour it was a global event, transmitted via radio and received by dozens of stations around the Earth. Every time Apollo VIII slipped behind the far side of the Moon, radio contact with Earth was lost. Millions of people on Earth listened to the crackling silence until 45 minutes later Mission Control in Houston reported: „We‘ve got it! Apollo 8 is in lunar orbit,“ and Astronaut Lovell responded: „Good to hear your voice.“
In this collection of vintage Apollo pictures, silver gelatin prints on fibre paper show us the cratered topography of the moon. Vivid colour prints bring us scenes of the first moonwalk in distinct Kodak hues. These photographs have a timeless appeal and yet are very much of the time in which they were made. Their materiality gives them particular historical resonance – they are physical pieces of history, imbued with the zeitgeist of the era.
 
Apollo XI was the first manned lunar landing. The photographs of Neil Armstrong and Buzz Aldrin on the Moon are some of the defining images of the 20th century post-WWII, a time of rapid technological innovation and social change.
 
The simple yet remarkable photo of Buzz Aldrin’s footprint in lunar soil portrays this first imprinting of the human body on the moon, an event that is etched in our collective consciousness and inseparable from our ideas of America and the Western world in the late 1960s.
 
Later Apollo missions deployed a Lunar Roving Vehicle that allowed astronauts to further explore lunar geology, taking pictures and collecting samples from the Moon’s surface.
 
Among the pictures in this pamphlet we see a man standing on the roof of a car, American flag in one hand and binoculars in the other. His eyes are on the skies, watching the Apollo VIII lift-off, a photograph that in many ways encapsulates the mood of the time.
 
text by Carrie Foulkes, 2018

 

Printed and bound by Pelo-Druck Lohner oHG
Paper content: Offset 60g/m2
Paper cover: Olin, Rough, cream, 200g/m2
 
32 pages, 24 images
15×21 cm, softcover
 
Editor: Daniel Blau
Authors: Carrie Foulkes
 
Purchase your copy here  

 
 

Émile Zola

Rather than thinking of Zola as a novelist who took pictures, we may instead
come to view him as an artist who both wrote and made photographs.
 
Zola’s photographs demonstrate a remarkable technical ability as well as a sensitivity to the
character and mood of his subjects. The same attention to detail evident in his novels is visible in Zola’s portraits of his son, which were taken around the time of the famous Dreyfus Affair at the end of the 19th century.
 
A small catalogue featuring texts by Carrie Foulkes and Lindsey Stewart is being published.
 
Printed and bound by Pelo-Druck Lohner oHG
Paper content: Pakopharm Offset Dünndruck Papier 50g/m2
Paper cover: Olin, Rough, cream, 200g/m2
 
32 pages, 11 images
15×21 cm, softcover
 
Editor: Daniel Blau
Authors: Carrie Foulkes, Lindsey Stewart
 
©2018, Daniel Blau, Munich
 

See press coverage below:

Émile Zola, Das Werk. Feuilleton.

 

By Dorothea Baumer

 

Süddeutsche Zeitung

 

Photo Saint Germain 2018

Galerie Meyer presents

Edward Wallowitch

 

Galerie Meyer
17, rue des Beaux Arts
75006 Paris

 

Public Exhibition:
November 7 – 24, 2018

 

Opening Hours:
Tuesday to Friday
2.30 pm – 6 pm

Saturday
11 am – 1 pm,
2.30 pm – 7 pm

 

Born in Philadelphia, both sides of his family descended
from late nineteenth century Lithuanian immigrants. Edward
Wallowitch pursued his talent for photography early and began
taking photos when he was just eleven.
At the age of eighteen, he was the youngest photographer
to be included in “The Family of Man”, Edward Steichen’s
legendary exhibition held in 1955 at The Museum of Modern
Art, meaning he was the youngest photographer ever to have
prints in the Museum of Modern Art in New York. Two of
them were taken with a Brownie box reflex camera while he
was still at high school.
Wallowitch was a close friend of Andy Warhol in the 1950s
and 60s in New York. By then he had moved from Philadelphia
to Manhattan and had become an integral part of the
Greenwich Village bohemia, alongside his brother John, and
sister Anna Mae. Wallowitch produced a kind of poetic street
photography with strong sensibility, showing a tender eye
for both composition and texture. He spent a lot of his time
photographing children and teenagers.
Many of Wallowitch’s pictures served as source material for
Andy Warhol’s drawings. He died at the age of 48, cause of
death unknown.

Public Opening:
Thursday, November 8, 2018, 12 am to 8 pm
Friday, November 9, 2018, 12 am to 8 pm
Saturday, November 10, 2018, 12 am to 8 pm
Sunday, November 11, 2018, 12 am to 7 pm

 

Our presentation at Paris Photo 2018 will consist of three special exhibitions.

We are delighted to present a group of Emile Zola’s portraits of his son Jacques. These beautiful prints, recently acquired from his grandson’s estate, will be shown in public for the first time. Zola’s photographs demonstrate a remarkable technical ability as well as a sensitivity to the character and mood of his subjects. The same attention to detail evident in his novels is visible in Zola’s portraits of his son, which were taken around the time of the famous Dreyfus Affair at the end of the 19th century.

A small catalogue featuring texts by Carrie Foulkes and Lindsey Stewart is being published to accompany this presentation.

Rather than thinking of Zola as a novelist who took pictures, we may instead come to view him as an artist who both wrote and made photographs.

We will show a selection of pictures focussing on outstanding female photographers such as the pioneering photojournalist Margaret Bourke‑White. These works will be complemented by portraits of larger‑than-life women such as: Frida Kahlo, Gertrude Stein and
Carrie Nation alongside other famous or infamous women.

Visitors familiar with our programme will be pleased to find a vintage group of impressive copy prints of 1946 atomic tests (Bikini Atoll). This process of making enlargements from pictures taken of pictures here enhances the defects of the earlier prints and imbues these large prints with a sense of urgency and magnetism. We will also show newly‑discovered colour pictures (dye transfer and Ansco film) of 1950s tests and crisp Apollo mission photos on the 50th anniversary of the first crewed mission (Apollo 7, 1968).