yossi steinmetz photography

Artundo and Cecilia Lebrero, eds., Julio Rinaldini: escritos sobre arte, cultura y poltica (Buenos Aires: Fundacin Espigas, 2007): 203231. Yossi Steinmetz Sales Executive at A&Y FLOORS Brooklyn, New York, United States 2K followers 500+ connections Join to connect A&Y FLOORS timberCORE Floors Activity Yes It's vinyl steps. Dimples Studio Inc Precious moments, preserved forever $$ 1047 Views. Peuser, a private company, had a robust, varied output in the early and mid-1950s, which included major state-sponsored publications. Coppolas album is also peppered with images that subtly tie the modern city to the past, perfectly in keeping with the spirit of the municipal governments interventions in Buenos Airess physical makeup and its ostentatious quatercentenary celebrations. The thematic breadth of her multi-image portrait of Buenos Aires is equally impressive. Yossi has 1 job listed on their profile. National and city finances and manpower helped develop and execute massive construction projects in Ezeiza, an area southwest of the city that eventually became home to a new, state-of-the-art international airport and to multiple state-funded housing projects. Yossi Steinmetz Photography @YesVIDE0S 3.55K subscribers Subscribe Home Videos Playlists Community Channels About Uploads Play all 0:56 Street Performers YOU WONT BELIEVE HUMAN CAN DO THIS!! For more information, please visit our Permissions help page. Despite their work with Buenos Airess government, Coppola and Sterns vision of Buenos Aires in the mid-1930s also departed in significant ways from the celebratory messages issued by Vedia y Mitre and his officials. A symbolic link between images of Argentinas multitudes and Perns populist politics crystalized quickly: from the start of his first election campaign until his overthrow in 1955, similar views printed in vast quantities in state-sanctioned books, newspapers, magazines, pamphlets, films, posters, postcards, flyers, and other ephemera reigned as visual emblems of Perns presidency. Yossi Steinmetz Photography Yossi Steinmetz Photography is a member of Vimeo, the home for high quality videos and the people who love them. Suturing together images drawn from an archive of photographs of objects and figures, Stern created pictures that imaginatively render the modern woman as terrorized by the trappings of domesticity and threatened by the pressure to conform to limited definitions of proper feminine behavior (Figure 10). #Viral February 27, 2023. Log in or Sign up to explore Blink! Buenos Aires was a living organism, sensitive to the action of time and of the spirit.. The attribution of a brochure about the groups Bajo Belgrano plan stored in her archives is unquestionable (Figure 9). At the same time, it holds to the rational geometries and pared-down aesthetic of the modernist canon. Yossisteinmetz (@yossisteinmetz) Instagram photos and videos yossisteinmetz 37 posts 47 followers 77 following Yossisteinmetz My hobby @yossisteinmetzphotography This Account is Private Already follow yossisteinmetz? 107 (OctoberDecember 1987): 445461. Conspicuously absent are images of major public gatherings, popular demonstrations, and political protests. New York, United States. Read More. Within these photographic icons of Argentinas mid-twentieth-century politics, the dense masses assembled in Buenos Aires transform the citys hallmark visual and physical features: its wide avenues and sprawling plazas, its historical monuments and architectural structures are overwhelmed by a sea of people so thick as to hinder immediate recognition of the sites captured by the camera. The core contributors to the literary journal Sur, many of whom were crucial supporters of Coppola and Stern in the 1930s and early 1940s, likewise viewed Perns ascent as a menace to their attempts to cultivate cultural acumen and literary sophistication locally. View Yossi Steinmetz's business profile as Photographer at yes Studios. Through her work with Mad, Idilio, and the EPBA in the late 1940s, Stern fine-tuned her ability to craft fictitious worlds through photomontage in order to relay particular interpretations of Argentinas artistic, urbanistic, and social ills as well as the remedies to these problems proposed by her collaborators. Did you know that with a free Taylor & Francis Online account you can gain access to the following benefits? Yossi Steinmetz is on Facebook. While rarely acknowledged as a major focal point of Sterns career, her urban photography stands as a testament to the complexity of her work as an artist tirelessly dedicated to instating a practice of avant-garde photography in Argentina and an active participant in debates about urban space and the nations cultural and social values. Grab an account today and join our global network of storytellers in over 180 countries! Both versions of the volume abound in photographs of Buenos Airess core neighborhoods. She climbed to the upper reaches of tall structures to capture sweeping aerial views of ravine-like avenues. Pern and his supporters ensured that Buenos Aires and the country at large were suffused with his agenda: automobiles dressed with the presidents portrait and equipped with loudspeakers blasted his speeches as they drove through the streets;Footnote23 pro-Pernist brochures, newspapers, and magazine advertisements appeared in every public library, school, state office, and even Argentine embassies in foreign countries;Footnote24 state-produced short films played in movie houses, parish churches, and schools nationwide.Footnote25 In the late 1940s and early 1950s, Buenos Aires was, in short, a city saturated with pro-Peronist crusades. Last Update. Visiting Stern and exploring her personal library in Ramos Meja was, according to the photographer and historian Sara Facio, something of a rite of passage.Footnote12 The house also served as an exhibition space for the groups second show in 1945, for which Stern designed a photomontage invitation. 1 Stern and Coppola landed in Argentina in August 1935. Without access to these materials, this study would not have been possible. Sterns contributions were both subtle and overt: while Coppola is the only photographer credited in the volume, he no doubt benefitted from her insights as an artist who matured during a thriving moment in photo book and photo magazine production in Germany in the 1920s and 1930s. The work is also a dramatic departure from the straightforward, documentary approach that predominates in Sterns earlier photographs of the city. In addition to her previous experience photographing Buenos Aires, she had secured a major commission to photograph a house by architect Amancio Williams in Mar de Plata in 1947. Two of the photographers listed along with Stern on the title page, Emilio Abras and Pinelides A. Fusco, were regulars on the payroll of Perns Subsecretara de Informaciones. Get out. The only photographic image embraced by Arte Mad, Sterns photomontage is both a nod to the city the group called home and an expression of its affiliates desires to overcome the strictures of geographic place. At the newly constructed Plaza de la Repblica, situated at the crossroads of Avenida 9 de Julio and the recently expanded Avenida Corrientes, he commissioned the architect Alberto Prebisch to erect an obelisk to honor the citys foundation. The text draws heavily from the work of Walter Peterhans, with whom both photographers studied in Germany. Works like theirs, he argued, show and document the visual, intellectual, and moral aberrations of a (fortunately small) group of failures.Footnote17 Such artists, Ivanissevich declared resolutely, had no place in Peronist Argentina. Grete Stern began photographing Buenos Aires in the mid-1930s, but she turned to the subject with unprecedented intensity in the late 1940s and early 1950s, a period of heated debate over the social and political significance of the citys physical makeup. One of these images, Vista de la Diagonal Norte de la primide al obeslico, Avenida Roque Saenz Pea, ties this tried-and-true site of civic activity in Buenos Aires to contemporary construction campaigns explicitly: the Plazas marble-clad, nineteenth-century Pirmide de Mayo shines bright in the foreground while the sheer, white face of the obelisk is visible at the end of the canyon-like Diagonal Norte. Untethered to government commissions and published in sources without explicit endorsement from a particular political party, these projects provided a gateway for exploration of the city as a site of subjective musing and artistic creativity, a place for personal discovery and innovation as well as one inflected by communal concerns. The municipal governments construction activities helped consolidate public definitions of the city according to well-defined boundaries that conserved the older, more European sectors areas traditionally associated with Buenos Airess powerful and wealthy classes even as vast, unruly, and decidedly middle- and working-class neighborhoods grew rapidly toward Avenida General Paz and beyond. Coppola tucked images of the liminal neighborhoods that lie to the northwest and southwest of the capitals traditional center into his photo book, giving light to the open spaces, unadorned low buildings, and unpaved roads that stretch into the expansive plains that surround the city.Footnote8 His pictures of these humble neighborhoods, sparsely populated by schoolchildren and their families and trafficked by horse carts more often than automobiles, deviate sharply from the lofty images of the city center and wealthier sectors elsewhere in the volume. In these photographs, Stern shifted tack, setting aside the photomontage techniques she employed in her work with Mad, Idilio, and the EPBA. Yet unlike the earlier photo book, in which Coppolas photographs alone draw out the bonds between the citys past and present, the Peuser book opts for an eclectic approach, relying on texts and handmade pictorial content as well as photographs to tell the citys story. In Entre muros of 1936, for example, made just as she settled in Buenos Aires, Stern homes in on a scene of rich textural and tonal diversity (Figure 2). Yoel Weiss is a music producer, songwriter, and recording artist. Sunlight streams across the scene from the right side of the picture, creating shadows that divide the composition into sectors of varied shades of light and dark. Stern had shown interest in the city after she moved there permanently in 1936, following her husband at that time, Horacio Coppola, to South America after they had spent several years studying and working together in Europe.Footnote1 Over the next decade, Stern published a handful of significant photographs of the city in photo books and magazines. Sterns first photographs of the city evince her fine-tuned control of the camera and subtle grasp of the visual effects it can elicit. Here are two periods of building history, the images caption reads. From the beginning of her photographic interactions with the city in the mid-1930s until the completion of her most ambitious treatment of the site two decades later, Sterns pictures of Buenos Aires shed new light on competing efforts to assign meaning to the citys physical configuration and visual appearance. My sincere thanks go to the estates of Horacio Coppola and Grete Stern for allowing me to study the contents of these artists personal archives. Curved to bridge a stream and designed to interact with its surrounding landscape, Williamss building emphasizes an intimate dialogue between architecture and nature. Tinted photographic portraits of the president and his wife, Eva, proliferated in posters and magazine advertisements aimed at canonizing the couple as saviors of the working class. Download Swarm and live your life more checked in. Claim . Espacio pblico y cultura urbana en Buenos Aires, 18871936 (Editorial de la Universidad Nacional de Quilmes, 1998): 387451. Sterns work on the 1937 reissue of Buenos Aires: visin fotogrfica shifted the stylistic tenor of this heroic vision of Buenos Aires into a distinctly avant-garde key.Footnote7 For the new volume Coppola joined forces with Stern and the Italian graphic designer, painter, and art critic Attilio Rossi, a recent immigrant to Buenos Aires and an ardent advocate of vanguard art and design. Register to receive personalised research and resources by email. The 1945 protest encouraged a type of symbolic takeover of the city and of the public environs that previously had been considered closed to popular sectors, Ballent has explained. Sterns work with Coppola in the 1930s provided her entre into Buenos Airess art and literary worlds, a position she nurtured even after their divorce in 1943. Together, they carried idealized images of workers the revered beneficiaries of the presidents new policies as well as documentation of the administrations feats and pictures of official celebrations to audiences far and wide. about 6 years ago . Date created: 9 March '22. 2K. 9 (January 1947): 1213. Contact. 39CitationGrete Stern, et al., Buenos Aires, with texts by Horacio Ral Klappenbach (Buenos Aires: Ediciones Peuser, 1956), unpaginated. The company's filing status is listed as Active and its File Number is 5041500. Yossi Steinmetz Photography on Instagram: ""Nothing in this world compares to the comfort and security of having someone just hold your hand" R. E. Goodrich . It is unclear if Stern knew that her photographs would appear in a volume that effectively, if subtly, flatters Perns government. Whether or not Buenos Aires in its final form accorded with Sterns hopes for it, the book stands as a powerful reminder of the complicated relationships and conflicting forces that shaped photographers careers and public reception during Sterns most active period in Argentina. The work draws upon Sterns long-cultivated expertise in photography and avant-garde design to relay the EPBAs goals and the justification for its remake of the area, a project described as yet another Foundation of Buenos Aires.Footnote33 In its present state, the group argued, Buenos Aires suffered from the signature plagues of life in a modern, industrialized city: citizens choked on the smoke pouring from thousands of factory smokestacks; tree-killing machines robbed the city of its greenery; vehicles dominated the streets and threatened pedestrians; and tightly packed, tall buildings blocked sunlight, forming dark, depressing manmade canyons. On October 17th of that year, tens of thousands of Argentines from the countrys interior and the outskirts of the capital sectors that often complained vehemently of being ignored by previous national and municipal officials poured into its streets and marched toward the citys center to protest Perns arrest a few days earlier by oppositional forces within the military. Free and open company data on New York (US) company YOSSI STEINMETZ PHOTOGRAPHY INC (company number 5041500), 21 ECHO RIDGE ROAD, AIRMONT, NY, 10952 Busy defining their own aesthetic and cultural priorities, members of the artistic and literary circles that formed the base of Sterns social and professional network in the mid-1940s also confronted a new, undeniable force within national public consciousness. Pozzi Harris, Marginal Disruptions (2007), 150154. A network of streets would connect these massive buildings, but, just as important, ample open, park-like space would surround each structure to encourage walking, socializing, and taking in fresh air. Coppolas photograph posits the two monuments as trans-historical twins that bind distant history with the urbanistic aims of the present (Figure 3).Footnote6. A commercial press founded in the 1890s, Peuser was a leader in Argentinas publishing industry with a long-standing specialty in producing maps and illustrated guides to the city. 40 Priamo states that Stern began talks with Aparicio in 1952, but a log of photographic negatives housed in her archives indicates that Stern started taking pictures for the Peuser book in 1951. Sign up Log in. And the new airport at Ezeiza is lauded for its monumentality and ability to facilitate travel to Argentina from the rest of the world. While clearly a home, it lacks signs of human inhabitants; the lives and stories that unfold there day-to-day remain a mystery. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. Just as frequently, Stern homed in on and carefully framed details of objects that betray something of Buenos Airess particular urban idiosyncrasies: overloaded horse-drawn carts, the decorative flourish of an ornamental staircase, the bare branches of a recently pruned tree (Figures 11 and 12). Los festivals del primer peronismo: el 17 de Octubre en 1950, Centro Argentino de Investigadores de Arte, Poltica y sociedad en una poca de transicin: de la sociedad tradicional al la sociedad de masas, Vanguardia, internacionalismo y poltica: arte argentina en los aos sesenta, Nacionales y populares: los salones del peronismo, Tras los pasos de la norma. It was responsible for producing a range of pro-Peronist childrens books, for example, as well as major propagandistic titles like the lushly illustrated La nacin argentina: justa, libre, y soberana, a massive tome advertising the governments aims and works between 1945 and 1955. The photographs appeared in two key Argentine architectural reviews, Nuestra arquitectura and La arquitectura de hoy.Footnote32 Sterns images of the landmark structure amount to an in-depth photo essay on the buildings novel form and the variety of materials used to distinguish spaces and add textural detail within it. Yossi Steinmetz Photography | About Yossi Steinmetz Photography Yossi Steinmetz @yesstudios - Twitter Profile | Sotwe Yossi Steinmetz. They found in her a trove of information about the aesthetic innovations and extra-artistic aims of European vanguards of the 1920s and 30s. Sterns Mad colleagues included virulent critics of the president, and several of her associates at Idilio also harbored grave misgivings about Pern. Log in to see their photos and videos. Yossi Steinmetz Photography Inc is a New York Domestic Business Corporation filed on November 21, 2016. Stern and Coppolas rhetorical advocacy of uncompromising straight photography accorded with the starkly candid photographs of objects and people that she made throughout her career, even if it failed to fully account for her prolonged experimentation with photomontage. Photographs of grand civic landmarks contrast with images of quiet outdoor cafes in the afternoon. The title page lists eight other photographers and illustrators as well as the Archivo Grfico de la Nacin as image sources. Stern continued to support the young artists after this disintegration. In both her harrowing portrayal of Buenos Airess current state and her idealized vision of the future city, Stern enlisted photography or, in the former case, photomontage more specifically as a tool for creating fictional worlds. Together, these images excite in their stylistic and thematic diversity: aerial views emphasize the density and verve of the capitals most compact urban sectors; sweeping perspectival renderings of broad avenues advertise the civic centers amenability to quick transportation and modern technologies like trolley cars and automobiles; details of individual buildings suggest Buenos Aires to be a city on par in its architectural opulence with any in the Western world. Photography - Video yestudios@gmail.com 718.576.1769. Sterns urban photographs published in sources ranging from artist-run magazines to commercial volumes and government-sponsored brochures were created in dialogue with transformative disputes unfolding on the national political scene and within Argentinas art world. 30 For more on the EPBAs engagement with Buenos Airess tradition of urbanism see ibid., 236. As Adrin Gorelik has pointed out, the physical reformulation of the city under Vedia y Mitre and Argentinas conservative national regimes of the 1930s both brought existing infrastructure up to date with twentieth-century standards and functioned as a symbolic re-foundation of the city center. 2 (February 1947): 7589. Salones Nacionales de Bellas Artes, 19111989 (Buenos Aires, Ediciones del Jilgueror, 1999); CitationPlotkin, Maana es San Pern (1994); Pablo CitationSirvn, Pern y los medios de comunicacin, 19461955 (Buenos Aires: CEAL, 1984). Under his tenure, a great mass of the nations working-class citizenry experienced genuine improvements in living and working conditions, not to mention a new sense of empowerment within Argentinas national political discourse.Footnote15 But for many members of Argentinas middle and upper classes, a sector that included a good part of Buenos Airess cultured intelligentsia, Pern was a deviation from the norm whose success depended principally on his wily manipulation of public opinion.Footnote16 This seismic shift on Argentinas political stage and the arguments it engendered immediately affected Sterns work of the late 1940s and early 1950s. Its editors paired one of Sterns images of the city with a note by the art critic Julio Rinaldini entitled Conocimiento de Buenos Aires. Rinaldini, whom Stern knew as a key contributor to the landmark literary journal Sur and as a prolific critic in other newspapers and magazines, had been assessing and writing about Argentine architecture and urbanism since the late 1920s.Footnote10 But in this article, Rinaldini stepped away from a rational analysis of the successes and failures of Buenos Airess architecture and city plan. From 1946 forward, Perns Subsecretara de Informaciones, headed by Ral Arpold after 1949, produced and distributed immense quantities of images, objects, and audio recordings as official propaganda.Footnote22 Savvy in the particular benefits of modern mass media, the department took advantage of a wide variety of art forms and mediatic display: film, television, and radio worked alongside textual slogans and hand-crafted illustrations of a perfected Peronist society. On top of this stark rendering of recent government action, details of pictures Coppola took in the diverse neighborhoods inscribed in Buenos Airess new official limits spill across the page. First, in 1937 she used Coppolas photographs as source material for a dramatic update to his photo book, creating a new presentation of the city that better fit his modernist approach to photography and, at the same time, publicized recent changes to Buenos Airess urban landscape as exciting and forward-thinking. He has been making music since he was only five years old. While living in Europe earlier in the decade, Stern and Coppola were close to leftist political scholars and activist artists, including the Marxist theorist Karl Korsch, the stage designer Walter Auerbach, and the playwright Bertolt Brecht. Explore. Photo studio +2. 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