ASMP: The reason for the ASMP getting started was quite clear at the time: the magazine situation. And Wright came back and said, “Young man, do you think people are going to come to my museum to look at pictures?” So that really said it all. November 18, 2004. ASMP: That’s the way to travel. Ezra Stoller was born in Chicago in 1915, grew up in New York and studied architecture at NYU. When I started trying to do film strips, I discovered you need an awful lot more pictures; many, many more. Ezra Stoller was born in Chicago in 1915, grew up in New York and studied architecture at NYU. ASMP: Did you ever have any problems delivering the work that you’d done? Stoller: No, as an alternative to having stuff published in magazines and things of that sort. Stoller: Gene Smith was rather a special case. ASMP: It’s absolutely typical of any membership group, and in this case, peoples’ jobs were at stake. As long as House Beautiful was edited by Elizabeth Gordon, I was in business; as long as Will Burtin was art director at Fortune, I was in business. Despite the title, this is a book of photography rather than a treatise on architecture. I used to think of them just as a bunch of taxi drivers, everybody in the business. Is there only one of those in the world? Stoller: Oh, yes, break a bottle of champagne on my head and everything. Well, this guy turned out to be a dud, so Larry Fried became president. ASMP: So, did you deliver on your deadlines? In 1940-41, Stoller worked with the photographer Paul Strand in the Office of Emergency Management. But the worst of it was, it was a no-good magazine; it was really lousy. Well, certainly about two dozen of them. Many modern buildings are known and remembered by the images he created. His work featured landmarks of modern architecture, and Stoller is often cited in aiding the spread of the Modern … Stoller: And so it is that when you have too much work, a lot of good and interesting work (more interesting, probably, than what you’re doing) has to go by the boards. But in the meantime, some lawyer has emptied the treasury for them. Learn more about Ezra Stoller (American, 1915 - 2004). I never did get to know terribly many of them, even when I became an officer of the Society, because you don’t normally, in the normal course of events, get to meet very many people. That wasn’t the function of the Society; it wasn’t to get those fancy people in it. ASMP — American Society of Media Photographers. Connexion; artnet. We used to — and still do — spend time in the West Indies. Before that I was in a photo company; the Army figures out ways to waste your time. Artprice.com's price levels for this artist are based on 69 auction results. So he never had much use for other photographers, with good cause. Biography. Well, generally, the decision was made by the architect, but they knew that they had to stay on my good side. The telephone was about a half-mile away, so I had to run down the hill. Stoller: Certainly. I don’t know if you’ve seen what Infinity was. Kay Reese and Mimi Leipzig, ASMP. But instead, the call was from Morris Gordon. Office of the Director. I wasn’t active at all, because I was very busy, I was doing an awful lot of work then. Just a romantic. Stoller: We always maintained that the image was ours, and anybody could use it for legitimate reasons, provided they compensated us for its use. I’d like that show to be kept viable. An Interview with Ezra Stoller May 30, 1991. Mon Compte. Interviewed by Mimi Leipzig and Kay Reese, May 30, 1991. Then I felt that photographers ought to be able to take on assignments and not have to have that cloud hanging over them all the time as to whether they could spend an extra day, whether they could afford any more film. Stoller: They could sell them, give them away, do whatever they wanted. What I resent especially is that MIT Press wanted to run it …. You just don’t worry about it; it’s all treated as one assignment. It was one of the services that the ASMP could afford — at a fee, at a percentage, which would pay the expenses. Ezra Stoller (1915-2004) Miami Parking Garage, 1948. Is that what you’re trying to tell us? I thought I knew, and I had friends in the business. During his studies at New York University in the 1930’s Stoller bought his first camera and it was a purchase that marked a dramatic shift in the trajectory of his career. Kay Reese and Mimi Leipzig, ASMP. L'adjudication la plus ancienne enregistrée sur le site est un(e) photo vendu(e) en 1997 chez Swann Galleries et la plus récente est un(e) photo vendu(e) en 2019. Stoller is survived by his wife Helen, two sons and a daughter. Stoller: I would never deal with them again. "Ezra Stoller: A Photographic History of Modernism, offers an unprecedented exploration of his archive and what made his images so captivating. ESTO - founded in 1966 by Ezra Stoller now headed by his daughter, Erica Stoller. I knew no other photographers, as a matter of fact; I was curious as to some of them and got to meet them. ASMP: So you moved into the photo workshop? And they probably do more magazine work — what magazine work there is. Mili always claimed bitterly that that building was a tour de force. His interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. Another thing, I was very naive. Stoller: Well, an agent first and then a lawyer. Architectural photographer Ezra Stoller was born in Chicago on May 16, 1915. Both the president and the treasurer had gone out and signed personal loans to carry the Society. The edifices covered include the Chapel of Ronchamp, the United Nations, the Seagram building, the TWA terminal, the Salk building, Wright’s Fallingwater and Taliesin West, the Whitney Museum, the Beinecke Library of Yale University and the two Guggenheim museums (New York and Bilboa). Stoller: I don’t know if he respected anybody, but I got along with him. As a student, he began photographing buildings, models and sculpture; in 1938, he graduated with a BFA in Industrial Design. I was working for the Upjohn Company; they had a little magazine they got out, and Will Burtin, who was my great friend, a marvelous man, said they wanted to get a documentary set of pictures of Kalamazoo. He graduated in 1938 from the School of Architecture and Allied Arts at New York University, where his interest in photography began. Stoller also wrote The Building Block Series. “Photography as an art doesn’t interest me an awful lot.” Even so, he raised architectural photography to an art form, capturing the smooth lines of American modernism in its heyday, as well as lesser known industrial images. But I did learn an awful lot about politics. I thought, well, that’s a good thing to do. And I went up and talked to the guy and made an arrangement with them. And it went on and on — it was absolutely unproductive. After his graduation in 1938, he concentrated on photography. Established in 2000, Yossi Milo Gallery is dedicated to providing a platform for an influential community of artists working in all media, including photography, painting, sculpture, video and drawing. I always have to be building something. A monograph of his work, Modern Architecture: Photographs Of Ezra Stoller, published in 1990, wasreissued in 1997. It would give people a chance to work. He had a very sympathetic committee of idiots, who at one point told me, “We want to get out Infinity, but we don’t want to be responsible for the financial aspects of the thing.” We could get no business done, because everything was concerned with Infinity and how were we going to pay the salaries and the commissions. And on top of that, there’d be the page rate, the use rate, for when it is used. Ezra Stoller, Self: Richard Meier. He asked me, as we were standing and looking at that Johnson Wax Tower, he said, “Ezra, instead of making it rise, can you make it do it like that?” And, like a fool, I did it. ASMP: Were you using the film strips to teach, Ezra? Stoller: Periodically, some smart lawyer would come in and say to himself, “This is an organization, they’ve got a little money,” and convince people they ought to be a labor union. Stoller: Sure, but not happily. Stoller: First of all, he convinced me that I ought to join. I said, “Do you belong to the ASMP?” “Oh, no, I don’t want to belong to that. Stoller: They didn’t change it enough. Learn more at Author Central. I remember the group meetings, large membership meetings, were held at the Carnegie Institute, the Carnegie Foundation which, of course, rented space to anybody that wanted it. ASMP: You’ve been lecturing, have you been teaching as well as? New Ezra Stoller Monograph ; Ezra Stoller at Lumiere Brothers Center for Photography ; Ezra Stoller at the Frist Art Museum ; Selected Works. You cannot work well if you’re worrying about money all the time. ASMP: By that time, was not there a code with a minimum day rate of $100? And, of course, they’d do them for a lot less, because he’s a very meticulous worker. But they’re so desperate to get a fair day rate. And, at that point I got to know those people fairly well, and, again, there were some better and some worse. During his long career as an architectural photographer, Stoller worked closely with many of the period’s leading architects, including Frank Lloyd Wright, Paul Rudolph, Marcel Breuer, I.M. Then I became more active in the Society and tried to figure out ways that that could be. Ezra Stoller photographed some of the twentieth century's most iconic buildings, including Ludwig Mies van der Rohe's Seagram Building, Frank Lloyd Wright's Falling Water, and Louis Kahn's Salk Institute. He’s not here yet, but I guess he’d become a member later on. If you’ve got a king or a prince or a dictator, you can do what you like, but in our kind of a democracy, you take the bad with the good, and that’s the way it is. Stoller: Yes, and nobody else was going to make a move to do anything about it, or even seemed to think that it was important. Ezra Stoller (1915-2004) Miami Parking Garage, 1948. Stoller: No, a friend of mine, Gordon Bunshaft, an architect, is on the board of the Modern Museum with Paul Gottlieb, who’s the head of Abrams now. And that’s another place photographers need protection: from book publishers. We’ve had a house there for about 20 years; haven’t been there for a couple of years now, but we’re going to go back. Ezra Stoller's interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. He also founded Esto Photographics, an architectural photo agency that continues under the guidance of his daughter, Erica. Never is it good enough. It’s like a typewriter,” said Ezra Stoller in an interview in 1991. Stoller: At the moment, I’m building something. When it came to the annual report, there was no limit to what you could spend. Stoller: It’s 2¼ by 3¼, built on a frame of a standard camera. As I said, my interest in the Society was pretty strictly an economic one. See more ideas about Stoller, Architecture photography, Architecture. Ezra Stoller, a celebrated architectural photographer whose work introduced the viewing public to the high modernism of the postwar era, died on … This friend of mine was the editor. ASMP: Did you see some of the books from Bradley’s booth? Stoller: Of course. And, as I say, my efforts came to naught, even though I became president. See available photographs, design, and prints and multiples for sale and learn about the artist. His interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. And they knew he meant texture, and they hated him for that. Stoller: I was in the Signal Corp’s Photo Center and I taught. Stoller: Well, it’s an attachment on a building, which is an attachment on something else. Hirsch Library Museum of Fine Arts, Houston: creatorOf: Stoller, Ezra . Ezra Stoller is one of the Richest Photographer, who was born in United States. Stoller: I was trained as an architect. 1962 Gelatin Silver Print 16″ × 20″ (40.5 x 51 cm) Edition of 20 + 4 Artist's Proofs. Stoller: I will do that. They felt it was no good to be that heavily occupied; you shouldn’t be over 90 percent, because when you’re higher than that, the young and progressive firms have nowhere to go, and they move out. Read the artist bio and gain a deeper understanding with MutualArt's artist profile. He graduated in 1938 from the School of Architecture and Allied Arts at New York University, where his interest in photography began. Ezra STOLLER (1915-2004) Ezra STOLLER (1915-2004) 4-PIECE COLLECTION OF EZRA STOLLER PHOTGRAPHS GM. I wanted to design it, lay it out and do it my own way in inexpensive color, which would then be distributed to architecture schools. “I always have to be building something.”. But I couldn’t even get my little thing off the ground, much less attempt to organize something like this. And Sweeney and Wright would have these terrible battles. His interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. I think for a young, starting photographer, it probably is important to him. There was a photographer around who had a studio on the East Side. “Ezra Stoller: Photographer is the definitive publication on history’s leading architectural photographer. Someone said that Cooper Union might give us some space; he knew the guy. On an assignment that you might cover in 12 or 16 pictures, you probably could use 100 pictures of details and odds and ends for a film strip. Stoller: They’re not. He arranged those things so that you could. “It’s no good to be occupied over 90 percent.”. And I don’t know how I got all this work done before. EZRA STOLLER (1915-2004) STOLLER, EZRA (1915-2004) "Main Gallery and Exhibition Ramps of the New Solomon R. Guggenheim Museum, … I met Katzenbach, I made a speech, and it took a very long time. Krier is the one that’s doing the job for the Prince of England. And I don’t do it out of the goodness of my heart. Stoller: The very first thing is, the man gets his expenses. I went to an ASMP meeting with I.F. Considered the most influential architectural photographer of the 20th century, Ezra Stoller lived and worked during the height of American Modernism, which he captured in iconic photographs that have shaped the cultural memory of the equally iconic structures they document. ASMP: In retrospect, is it as bad as you thought it was when you first saw it? And I would go to the editor and say “There are certain activities as a Society, there are technical forums and conferences, that would be good if we wrote about in Infinity.” He disregarded all of that; he insisted on writing film criticisms. It was just right off the shelf. Architectural photographer Ezra Stoller was born in Chicago on May 16, 1915. Stoller: There’s a friend of mine who lives in Rye who is a big name in the publishing business now. But then, as somebody said, “Yes, it’s accidental, but the same good accidents happen to the same people all the time.” The secret is to deliver more than they ever expected to see, and more than they even think they’re paying for. Stoller’s work was first published in 1937. He had a folding beach chair; he’d go in the office, lock the door and sleep. Napoleon was able to do what he did with Paris. STOLLER, EZRA. Stoller: Since that time, they probably have become commercially available, but I haven’t kept up with the field. “If they give you enough money, you’ll give them the camera!”. We paid a lobbyist and we met with Senator Burdick, had lunch with him and went all through that stuff. I think I understood her, but I never worked to please her. View Ezra Stoller’s 76 artworks on artnet. Ezra STOLLER (1915-2004) is an artist born in 1915 The oldest auction result ever registered on the website for an artwork by this artist is a photography sold in 1997, at Swann Galleries, and the most recent auction result is a photography sold in 2019. As Amazon 5 star rating says "I love it". TWA Terminal at Idlewild (now JFK) Airport, Eero Saarinen, New York, NY. And Krier is able to do these great towns in England because he’s got a prince. If I look back at it, I wonder if I could do that again. Ezra Stoller - Notre-Dame-du-Haut Chapel (Le Corbusier), 1955. Ezra Stoller (1915-2004). The magazines were slowly going under, were dying, and were stopping the big magazine photography. I’ll tell you a little story. Stoller: Well, I don’t hear the ASCAP members complaining. Especially: photography. That was Mildred Grossman, who seemed okay, so it seemed like I’d be in pretty good shape. Even Bradley Smith. Especially: photography. I was so irate and so upset when I first saw it that I fired a letter off to the publisher — “It’s the kind of book that neither of us could be proud of” — that’s how bad I thought it was. I notice he’s not on the list any longer, or wasn’t at that time. After his graduation in 1939, he concentrated on … I acquired a good deal of respect for some like [Irving] Penn and [Richard] Avedon, who were very bright people; so were some of the others. ASMP: Was it your feeling then that it was a social organization? There’s no basic day rate. A spectacular visual biography of one of the most celebrated architects and cultural icons of the twentieth century. Stoller: I recently met a photographer in Miami. And when he laid out a story, you could read that story from his pictures and you didn’t need a word of type. And the photographer gets paid immediately on submission for all the expenses and the base rate. It was saddled with a publication called Infinity, which absorbed all the money the Society had. Pei, Gordon Bunshaft, Eero Saarinen, Richard Meier and Mies van der Rohe. Thanks Pinkville :-) above are some pages I found (not to mention his own numerous books). It’s like a typewriter. James Johnson Sweeney subject files, 1961-1968. And they all accused me of sinking Infinity. But I generally don’t over-shoot. It’s not the kind of thing people do with 35mm cameras. There were times were you could depend on the fact that what happened at a meeting one night would be in Ray Macklin’s hands the next day. If you know of a situation that is reported in a newspaper, how often do they get it right according to your knowledge? Eventually we decided that no more money could be poured down this drain, this bottomless pit of Infinity. Stoller: American Institute of Architects. Because he had excellent personal relationships with leading architects, Stoller was tapped in the mid-’60s to represent ASMP photographers in discussions with the American Institute of Architects about standard practices for credits and licenses in the publication architectural images. Think about it: What is popular taste like? At that point, magazine photography was no longer what it was all about. Stoller: Well, it just was an accident. I know what the sun does at different times of the year. Stoller: No, we have a minimum, which is very low and just covers your time and expenses. Ezra Stoller's interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. When I saw things were going badly, I hesitated to do it. Thanks Pinkville :-) above are some pages I found (not to mention his own numerous books). ASMP: With Stanley Kanen, the Image Bank. And I don’t know if they ever looked at the magazine; it was worthless. Stone, a great political guru. Ezra Stoller’s most popular book is Paul Rudolph: The Florida Houses. So, by getting a bush in front of that mistake … and they realize that and appreciate it. Ford Foundation Headquarters, Kevin Roche, New York, New York, 1968 — Ezra Stoller. I had the jobs. You need a lot more flexibility for an architectural camera. He said that each photographer’s a king. One of our leading members, who was angling for a job at the EPA — I suspect he fancied himself another Roy Stryker, so he was going to get that job — was trying to get the Society to waive its minimums for the EPA. He graduated in 1938 from the School of Architecture and Allied Arts at New York University, where his interest in photography began. ASMP: Is that a unique camera? I’ll do some things with a Hasselblad, but those are all box cameras as far as I’m concerned. See available photographs, design, and prints and multiples for sale and learn about the artist. Aug 18, 2015 - This Pin was discovered by Industryous Photography. Photographs by Ezra Stoller / Courtesy Esto. ASMP: Did you have meetings at your house? And one of the ways was, of course, what I told you about: revamping the whole system, because it needed it. It is a high quality book showing the tonalities to advantage, and as a bonus gives equipment details and some biography. 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