@yesstudios Joined March 2009. Peuser, a private company, had a robust, varied output in the early and mid-1950s, which included major state-sponsored publications. Find contact's direct phone number, email address, work history, and more. Sterns work with the studio led to additional commissions that spurred her to create an impressive photographic survey of the city that eventually comprised more than 1,500 images.Footnote2 Most of these pictures remain unpublished, but in 1956 a selection of them took center stage in a photo book on Buenos Aires produced by Peuser publishing house. Join Facebook to connect with Yossi Steinmetz and others you may know. 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. This essay explores the stylistic diversity of Sterns urban imagery and investigates the relationship between her images and the countrys long tradition of using photographs to promote and define its most populous city. Cancel Contact. The second edition gave itself over to Sterns vision more concretely, with a radically revised cover and binding that she helped design. In October of that year, they mounted a major exhibition at the headquarters of Sur magazine. Get your business off the ground with these . Follow. Multi-page photo essays about workers on the job published in glossy magazines and weekend supplements to newspapers spread the word of the administrations dedication to ensuring humane working conditions and fair compensation. Taken from a balcony or window, the photograph shifts gently from sharp focal clarity in the foreground to hazy atmospheric effects in the distance. Entre muros and Sterns other early explorations of Buenos Aires embody the aesthetic and technical prescription for modern photography that she and Coppola announced within months of their arrival in Buenos Aires.Footnote3 Building on their experience overseas, the pair self-consciously aligned themselves with avant-garde photographers in Europe and North America who advocated a deep and sustained investigation of photographys endemic aesthetic features. The thematic breadth of her multi-image portrait of Buenos Aires is equally impressive. Many of Sterns closest friends and colleagues in Argentina interpreted Perns rise as a threat to the development of advanced art and literature there as a whole. Insistently mundane but nonetheless intriguing, it is a site for imaginative projection rather than a sign of lofty collective ideals. Broken into three sections Buenos Aires restrospectivo, Buenos Aires moderno, and Buenos Aires ntimo the book is full of anachronistic combinations. Merging multiple photographs, she conjured the chaos and cacophony of a city run amok: children scream without hope of consolation; adults fight for space in uncomfortable crowds; precarious buildings, hastily constructed from cheap, unsafe materials, threaten to collapse on their inhabitants; narrow, airless streets menace pedestrians; and smokestacks poison the lungs pictured in x-ray form at the top of the composition of innocent citizens. Meta About Blog Jobs Help API Privacy Terms Top Accounts Locations Instagram Lite 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. 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. Log in to see their photos and videos. yesstudios retweeted. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. 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. Shot from above to capture the enormous number of participants in pro-Pern rallies tens of thousands of Argentines drawn from their homes in support of the future president these photographs offered up documentary proof of his democratic legitimacy. See Horacio Coppola and Grete Stern, Exhibition of Photographs by Horacio Coppola and Grete Stern, in Jorge Schwartz, et al., Horacio Coppola: Fotografa (Madrid: Telefnica, 2008), 366. An aerial view of Buenos Airess microcenter by Coppola serves as the background. The Zemiros Choir @ZemirosChoir. 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. Pozzi Harris, Marginal Disruptions (2007), 150154. The variety of photographic imagery published by the government subtly cultivated the Argentine publics literacy in a wide range of compositional strategies and visual effects. Part of a wave of new periodicals run by recent immigrants to Argentina from Europe, several of which reproduced Sterns portraits and other images in the 1940s, Cabalgata recognized the value of her urban photography in particular. Clara Vittino . Curved to bridge a stream and designed to interact with its surrounding landscape, Williamss building emphasizes an intimate dialogue between architecture and nature. In these photographs, Stern shifted tack, setting aside the photomontage techniques she employed in her work with Mad, Idilio, and the EPBA. 42CitationStern, et al., Buenos Aires, unpaginated. For many the city is only an obstacle to overcome, he complained, a place where transit is managed, where the trolley arrives late, where the bus arrives full, where no one knows how to park a car; a mass of compact buildings over a rigid line of streets with little space.Footnote11 Rinaldini encouraged his readers to look at their surroundings anew and to engage more fully with Buenos Airess ever-changing physical appearance and shifting human substance. 4CitationAdrin Gorelik, A Metropolis in the Pampas: Buenos Aires, 18901940, in Cruelty and Utopia: Cities and Landscapes of Latin America (New York: Princeton Architectural Press, 2005), 157. During this time, Juan Domingo Pern, President of Argentina from 1946 to 1955, implicated the citys landmarks and neighborhoods in his populist denunciations of cultural elitism and economic disparity. Yossi Steinmetz photography Accomodation ID s99195. New York, United States. VV., Arte y recepcin (Buenos Aires: Centro Argentino de Investigadores de Arte, 1997); CitationAndrea Giunta, Nacionales y populares: los salones del peronismo, in Marta Penhos, Diana Wechsler, and Miguel Angel Muos, eds., Tras los pasos de la norma. Yossi Steinmetz's Phone Number and Email. Afterward, Stern returned to Europe for the birth of their daughter, but she returned to Buenos Aires in 1936 and remained based there for the rest of her life. 9 (January 1947): 1213. The volume proudly showcases photographs of the villages of pitched-roof houses built just outside the capitals edges. Dimples Studio Inc Precious moments, preserved forever $$ 1047 Views. While Coppola and Stern were relatively discreet about their own political leanings, their participation in the journal suggests their genuine concern for the citys less-privileged social and economic classes. Explore. Construction on the massive Avenida 9 de Julio, soon to run north and south of it, has yet to begin. Sterns proximity to Coppola while he worked on the book provided a swift introduction to the complicated relationships at times cooperative and at times antagonistic between the citys cultural vanguard and national and city leadership. Still life photo editor, writer and photographer at Adhoc Fotos. 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. The company's filing status is listed as Active and its File Number is 5041500. Sterns pictures stand apart from the scenes of a boisterous city roiling with political ferment that by the time she started the Peuser project had become uncontested signs of Argentinas collective identity. As Ballent notes, Peronisms effect on the architectural and infrastructural landscape of Buenos Airess traditional city center was minor compared to the enormous construction activities enacted there by government officials in the 1930s.Footnote26 His administration and its collaborators within the municipal government instead concentrated resources on the capitals exterior limits. By now, of course, a changed outlook has brought a leveling of social differences.Footnote44 The slopes of Belgrano form a patrician part of town, reads another caption, but their beauty on a warm evening is accessible to all.Footnote45 The political connotations of such notes are unquestionably understated and likely lost on many readers, especially those outside Argentina and unfamiliar with Perns populist policies and anti-elitist rhetoric. Outlined in neon, a large M from a businesss advertising marquee dominates the frame. A City in Dispute: Grete Sterns Photogr . : Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern, A city to discover, a city to define: Grete Stern in Buenos Aires in the 1930s, A city to explore, a city to create: Sterns artistic collaborations of the 1940s, A contested city: Sterns urban photography in the age of Pern, https://doi.org/10.1080/13569325.2015.1040742, Medicine, Dentistry, Nursing & Allied Health. I love how it softens the outline of our love. The building, its doorway shut and its windows obscured by the gleam of light, is impenetrable to the viewers gaze. 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. 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. It was during Perns controversial political reign that the German-born photographer Grete Stern turned her cameras lens on Buenos Airess cityscape with an earnestness unseen in her earlier work in Argentina. yossisteinmetzphotography Wedding Day #weddingday #weddingphotography #weddinginspiration #weddingphotos Event planner : @sageeventsnyc Photography : @Yossisteinmetzphotography Cinematography : @shimmyrphotography Audio & lighting : @excellentsoundlighting Band : @yossishtendig Singer : @lipa_schmeltzer DJ : @djjudaa The administrations most grandiose (and arguably most disruptive) projects, moreover, helped to strengthen and maintain sections of the city long associated with the nations traditional power brokers. Photographs constituted a crucial means of address for the president and his allies. Within this lineage, Coppolas Buenos Aires: visin fotogrfica stands out as the most recent, and for Stern surely the most compelling, touchstone. 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. Key Principal: RACHEL STEINMETZ See more contacts Industry: Photographer, still or video Printer Friendly View Address: 21 Echo Ridge Rd Airmont, NY, 10952-4307 United States Phone: ? Log in or Sign up to explore Blink! Divisive from its start, Perns rise was a parting of the waters between those who supported his proclamations of a new era in Argentine public policy and those who viewed him with suspicion or outright contempt. Photographs of Perns effect on Buenos Airess physical makeup likewise enjoyed ample space on the pages of state-produced books and periodicals. 2 (October 1948): n.p. Stern took up her new position as the official photographer and graphic designer for the Estudio del Plan de Buenos Aires, one of the most radical state-supported housing initiatives in the capital, in 1948. 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. Photography - Video yestudios@gmail.com 718.576.1769. Yossi Steinmetz Photography Yossi Steinmetz Photography is a member of Vimeo, the home for high quality videos and the people who love them. During Juan Domingo Perns first presidential campaign, which ended in victory on February 24, 1946, photographs of seemingly boundless crowds packed into the streets and plazas of Argentinas capital city, Buenos Aires, proliferated in news sources that supported his candidacy (Figure 1). She climbed to the upper reaches of tall structures to capture sweeping aerial views of ravine-like avenues. Last updated: 17 June '22. His shrewd control of the ways in which Argentinas masses understood his objectives was without precedent among the nations presidents. Yossisteinmetz (@yossisteinmetz) Instagram photos and videos yossisteinmetz 37 posts 47 followers 77 following Yossisteinmetz My hobby @yossisteinmetzphotography This Account is Private Already follow yossisteinmetz? 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. Perns promotional campaigns were an assault on the mind of the average man, his colleague, the Spanish poet Guillermo de Torre, concurred.Footnote18. The conviviality and excitement that propelled the group in the months after Arturos appearance did not last long, however, and by 1946 it had split irrevocably into two factions: Arte Mad, led by Kosice, Arden Quin, and Rothfuss, and Asociacin Arte Concreto Invencin, headed by Maldonado, Alfredo Hlito, Alberto Molenberg, and others. 41CitationEmeric Essex Vidal, Picturesque Illustrations of Buenos Ayres and Monte Video: Descriptions of the Scenery and of the Costumes, Manners, Etc., of the Inhabitants of Those Cities and Their Environs (London: R. Ackerman, 1820). Sterns photographs reveal her sensitivity to architectural space, as well as her capacity to breathe life and warmth into photographic renderings of a building style noted most often for its logic and functionality. Created by Emeric Essex Vidal, a British sailor and painter who began publishing images of the city in 1820 in the book Picturesque Illustrations of Buenos Ayres and Monte Video, these paintings offer up idealized descriptions of the citys port, its central plaza, and the expansive estancias that at the time rimmed Buenos Aires (Figure 14).Footnote41 Vidals watercolor records of the citys past find their modern counterpoint in the wealth of photographs that are the centerpiece of Buenos Aires moderno and Buenos Aires ntimo., Short captions, likely by Klappenbach, narrate these sections. Sterns turn to photomontage for her EPBA materials advanced an approach to imagining the city in photographic terms that she had initiated more than a decade earlier. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. The text draws heavily from the work of Walter Peterhans, with whom both photographers studied in Germany. Website: yesstudios.zenfolio.com Employees (this site): ? Buenos Aires, Argentina. Coppola and Stern put this vision of a modest, decidedly proletarian Buenos Aires at the heart of their contributions to the January 1937 issue of Anuario socialista, published by La Vanguardia, organ of Argentinas Socialist Party, a vocal opponent of the citys and the nations ruling conservative political parties. How do I view content? We use cookies to improve your website experience. The critic instead lingered poetically on Buenos Aires as a city that can never be fully comprehended. For Rinaldini, the capital was a place habitually taken for granted by its residents. 9,445 Followers, 585 Following, 360 Posts - See Instagram photos and videos from Yossi Steinmetz Photography (@yossisteinmetzphotography) yossisteinmetzphotography. This is your Buenos Aires, the flyer reads, This Buenos Aires where children live in passages that look like catacombs, play in unhealthy, vacant lots, and sleep, packed together, in cells that are refuges rather than homes. The photomontage Stern created as a visual counterpart to the EPBAs dire analysis of the capital at mid-century matches the brochure texts ominous tone. 3099067 Between the state-sponsored traditional cottages and these sober functional cubes, the book reassures readers, the monotony of a uniform architecture is avoided (Figure 16).Footnote47 Schools and playgrounds constructed with support from the Fundacin Eva Pern suggest ideal sites for childhood intellectual and physical development. 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. Facebook gives people the power to share and makes the world more open and connected. The trio appropriated the look and materials of modern, mass-produced periodicals, replacing the volumes original cloth-bound cover with cardboard and a spiral binding. Espacio pblico y cultura urbana en Buenos Aires, 18871936, Editorial de la Universidad Nacional de Quilmes, Imgenes para una fundacin mitolgica: apuntes sobre las fotografas de Horacio Coppola, Miradas sobre Buenos Aires: historia cultural y crtica urbana, 17 y 18 de octubre de 1945: el peronismo, la protesta de masas y la clase obrera Argentina, A Study of the Argentine Literary Journal and its Role in the Development of a Culture, 19311970, Maana es San Pern: propaganda, rituales polticos y educacin en el rgimen peronista, Marginal Disruptions: Concrete and Mad Art in Argentina, 19401955, Grete Stern: obra fotogrfica en la Argentina, Pern y los medios de comunicacin, 19461955, Picturesque Illustrations of Buenos Ayres and Monte Video: Descriptions of the Scenery and of the Costumes, Manners, Etc., of the Inhabitants of Those Cities and Their Environs, Journal of Latin American Cultural Studies. Heir to a long tradition of commemorative photo albums there, the book was published twice, in 1936 in conjunction with citywide celebrations of the 400th anniversary of Buenos Airess foundation, and again in 1937. 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. 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. View Yossi Steinmetz's business profile as Photographer at yes Studios. 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. To compose the picture, Stern positioned herself at the mouth of a narrow alley and aimed her camera at a modest, elevated structure lined with corrugated metal. Yet Sterns urban photography demonstrates her creativity, stylistic flexibility, and technical know-how as convincingly as any of her other work. The project was a coup for the artists, then working together as a collaborative pair, and a crucial opportunity to affirm their status as harbingers of a new strain of modern photography in Argentina. The Wedding of Effy & Blimy Landau - May 23rd, 2021---Photography by Yossi SteinmetzCinematography by Shimmy Rubinstein--- Stern worked with the EPBA for roughly two years.Footnote36 The experience of studying the city with architects and urban planners was good preparation for her most extensive treatment of Buenos Airess cityscape, completed in the early 1950s. Sterns illustrations, at times only loosely linked to the textual accounts of womens dreams they accompanied, wittily undercut the conservative vision of modern feminine life promoted in Idilio an image that blatantly encouraged female consumerism and consistently reasserted traditional gender roles. 9CitationAlejandro Korn, ed., Anuario socialista (Buenos Aires: La Vanguardia, 1937), IIV, XXXIIIXXXIV, XXXIX. Budget Photography By Moshe Yuda $$ 455 Views. The photographers first-hand experience of Europes pre-World War II avant-gardes also made her a beacon for young Argentine artists, such as the painters and sculptors associated with the short-lived magazine Arturo. Frank photographic documentation of state-run meetings and events printed in commemorative albums and newspapers offered proof of the presidents tireless efforts on behalf of Argentine citizens. For more on Sterns relationship to these artists see Mara Amalia CitationGarca, El arte abstracto: intercambios culturales entre Argentina y Brasil (Buenos Aires: Siglo Veintiuno Editores, 2011), 38, and Ana Jorgelina CitationPozzi-Harris, Marginal Disruptions: Concrete and Mad Art in Argentina, 19401955 (PhD Dissertation, The University of Texas at Austin, 2007). . Yossi Steinmetz Photography on Instagram: ""I love the rain. Revista de artes abstractas, who were eager to set themselves apart from the countrys old-guard cultural leadership. Coppolas photograph posits the two monuments as trans-historical twins that bind distant history with the urbanistic aims of the present (Figure 3).Footnote6. They were both keenly aware of international efforts to mobilize artists and other creative thinkers in contemporary fights for social, political, and economic justice. Last Update. 585 following. To provoke excitement over the city he called home, the critic compared it to an animate creature, thrilling precisely because it is unknowable. For the book Stern returned to a straight documentary style to create arresting views through painstaking attention to focus, tonal variation, and composition. Photo studio +2. 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. . 107 (OctoberDecember 1987): 445461. 360 posts. The details of who was responsible for deciding which of her pictures were printed and the books final layout remain unclear. 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. To this, Stern added A-D- in smaller lettering that mimics the three-dimensionality of the photographed M. Spelling out the groups name, her photomontage distorts the citys image, rescuing it from the mimetic realism that the Mad artists vehemently rejected.Footnote14 At the same time, the work emphatically declares Buenos Aires as Mads domain: obscuring a view of Prebischs obelisk, the capitals most recent icon of civic grandeur, Stern playfully suggested Mads triumph over the citys physical landmarks and, by extension, the groups success in overcoming the cultural priorities and artistic trends its associates decried as aesthetically outdated and thematically limited. Sign up Log in. 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