Cornell Capa

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Cornell Capa, world famous for his photojournalism as well as for his founding of New York's International Center of Photography, has had a long and productive working life. His career has spanned several key decades of the twentieth century, and his work has taken him around the globe to cover political events and chronic social problems, to photograph the famous and the unsung. Born in Budapest in 1918, Capa moved to New York in 1937, took a job with the Pix photo agency, and soon began working in the darkroom ...
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Overview

Cornell Capa, world famous for his photojournalism as well as for his founding of New York's International Center of Photography, has had a long and productive working life. His career has spanned several key decades of the twentieth century, and his work has taken him around the globe to cover political events and chronic social problems, to photograph the famous and the unsung. Born in Budapest in 1918, Capa moved to New York in 1937, took a job with the Pix photo agency, and soon began working in the darkroom at Life magazine. By 1946, he was a staff photographer for Life, and during the following eight years he worked on hundreds of assignments for the magazine. In 1954 - after the death of his brother Robert Capa while covering the war in French Indochina - Cornell Capa resigned from the Life staff and joined Magnum, the international cooperative photo agency that Robert had helped to found. Since 1974, Cornell Capa has been the director of ICP, one of the world's most important centers for photojournalism and the art of photography. As Capa points out in his preface to the book, the word "photography" was coined from Greek words that mean writing with light - a good description of Cornell Capa's brand of descriptive image making. Capa's photographs are not just for aesthetic consideration; they teach, challenge, entertain, support causes. In his tenure as a staff photographer at Life magazine, Cornell Capa managed to fuse his personal and professional goals so that, on deadline and in the service of journalism, he was able to make some of his most poignant and shattering images. Although he enthusiastically adopted the passionate photojournalistic style of his older brother, who is best known for his coverage of the Spanish civil war and World War II, his goal was distinct from the beginning: to be primarily a photographer of peace. As a self-described concerned photographer, Cornell Capa has always been led by his instincts to photograph people - all kin
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Overshadowed by the renowned war photography of his brother, Robert Capa (who was killed in Vietnam), and by his own pioneering work as director of the International Center for Photography, where he helped foster respect for photography as an art form, Cornell Capa's professional camera work has gone largely unrecognized. This volume collects 150 of his best photographs, taken on assignment for Life and other magazines between 1946 and 1974, when he founded ICP. In his introduction, Whelan ( Drawing the Line: The Korean War 1950-53 ) depicts Capa as a ``concerned photographer'' whose work tried to influence the world for the better. To a remarkable degree and in unusual ways, with nothing manipulated but the camera, each of Capa's subjects appears immersed in his or her environment and its significance: penury in Salvador, civility at the Glydebourne opera and excitement during an American political campaign all resonate in striking images. Capa's accompanying memoirs are at times wry and lighthearted, often erudite and always compassionate. (Oct.)
Gretchen Garner
Cornell Capa has been best known as star photojournalist Robert Capa's younger brother, and he further obscured his reputation when, upon founding the International Center of Photography in 1974, he virtually quit photography. During 1946-74, however, he produced a large body of photojournalism, distinguished by his trademark warmth, that recorded many of the era's great themes and movements. The first part of this excellent selection consists mainly of single feature shots made no later than 1949. After 1950, he produced many series of related images, and these make up the rest of the book. Their themes include life in Britain, American politics (particularly the career of Adlai Stevenson), life in the Soviet Union, Judaism and Israel, the mentally retarded, missionaries in Latin America, and Latin American politics. Cornell set out to be not a war photographer, like Robert, but a "peace photographer," and he became the champion of other "concerned photographers"--a phrase he used for a show he curated in 1967. This book, which firmly establishes him as an important witness of his times, is recommended for all art, photography, and journalism collections.
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Product Details

  • ISBN-13: 9780971276505
  • Publisher: Fetterman, Peter Gallery
  • Publication date: 1/1/2002
  • Pages: 64
  • Product dimensions: 8.84 (w) x 10.30 (h) x 0.49 (d)

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