And On the Dachshunds Go

Fashion illustrations by René Gruau

 

“The deer and the dachshund are one”

Wallace Stevens

Loneliness in New Jersey

 

DACHSHUNDS

“The Dachshund leads a quiet life
Not far above the ground;

He takes an elongated wife,
They travel all around.

 

Lady Rendlesham With Her Daughter, Antonia, by The Serpentine, Walking Tess D’Erlanger’s Dachshund. Photo by Norman Parkinson. Vogue, May 1959

 

They leave the lighted metropole;
Nor turn to look behind
Upon the headlands of the soul,
The tundras of the mind.

They climb together through the dusk
To ask the Lost-and-Found
For information on the stars
Not far above the ground.

 

Photograph by Robert Doisneau

 

The Dachshunds seem to journey on:
And following them, I
Take up my monocle, the Moon,
And gaze into the sky.

Pursuing them with comic art
Beyond the cosmic goal,
I see the whole within the part,
The part within the whole;

 

Coiffure for Harper’s Bazaar. Photo by Lillian Bassman, c. 1954

 

See planets wheeling overhead,
Mysterious and slow,
While morning buckles on his red,
And on the Dachshunds go.”

William Jay Smith

Advertisements

Penelope’s Hungry Eyes

Self-portrait, London, 1972

 

Abe Frajndlich was born in 1946 to in Frankfurt. At the age of ten he moved to the United States via Israel, France and Brazil. His role model and mentor was photographer Minor White, from whom he learnt “the art of seeing”.

It is with “hungry eyes”, but also with a tenacity and patience only equaled by Penelope’s firm belief in the return of her husband Odysseus, that over the last 30 years Abe Frajndlich has taken portraits of his famous fellow photographers. A selection of over 100 pictures from the ever growing portrait collection has been published in book form for the first time under the title Penelope’s Hungry Eyes. It features grand old masters of the art and photographic artists, contemporaries of the author and younger masters from the Düsseldorf School.

Abe Frajndlich has succeeded in luring the world’s most famous photographers out from behind their cameras and in front of his. With extraordinary skill, he has trained his lens on people used to hiding their own eyes behind a camera. For each of his portraits (some in color, some black and white) Frajndlich has conceived an individual setup that brings into focus in diverse ways the photographer’s primary organ, namely their eyes, which are as special as the voice of talented singers. Some of the photographers shy away by closing their eyes, wearing a mask or turning away (Cindy Sherman, Annie Leibovitz, Thomas Struth or Hans Namuth). Others use props such as glasses, mirrors or magnifying glasses to set their eyes in scene (Bill Brandt, Duane Michals, Andreas Feininger, Lillian Bassman) and still others draw attention to the vulnerability of their eyes using knives and scissors (Imogen Cunningham, Lucas Samaras). Yet many of the subjects respond to the unfamiliar “change of perspective” by looking directly into Frajndlich’s camera (Candida Höfer, Berenice Abbott, Gordon Parks).

Abe Frajndlich has presented a Who’s Who of recent photographic history, enriched with a highly subtle eye for humorous situations. In images and text (the photographer has added a personal note to each portrait) Frajndlich sets out to discover the ever enigmatic relationship between the real person and their own legend.

 

Lucas Samaras
 

Bill Brandt

 

Josef Koudelka

 

Arnold Newman

 

Robert Lebeck

 

Imogen Cunningham

 

Elliott Erwitt

 

William Wegman

 

Marc Riboud

 

Ruth Bernhard

 

Lillian Bassman

 

Louise Dalh-Wolfe

 

Ilse Bing

 

Dennis Hopper

 

David Hockney

 

Richard Avedon

 

Annie Leibovitz

 

Cindy Sherman

 

Andres Serrano

 

Harold Edgerton

 

Horst P. Horst

 

Norman Parkinson

 

Gordon Parks

 

Masahisa Fukase

 

Daidō Moriyama

 

Eikoh Hosoe