Fotografie od Henri Cartier-Bressona
Albert Camus, Paris, 1944.
Coney Island, New York, 1946.
Romania, 1975.
Naples, Italy, 1960.
A football game, Michigan vs. Northwestern, 1960.
At the Le Mans Auto Race, France, 1966.
Uzbekistan, 1954.
Visitors from kolkhozy to the eleventh-century Alaverdi monastery, 1972.
Improvised canteen for workers building the Hotel Metropol, 1954.
The Arbat, Moscow, 1972.
Chelny, Russia, 1973.
Boston, 1947.
New York, 1935.
An African-American student is denied entry to a theater. He keeps his hands in his pockets to demonstrate that his protest is nonviolent, 1961.
Blue Ridge Mountains, Virginia, 1960.
Jean-Paul Sartre, Paris, 1946.
Dessau, Germany, April, 1945.
Nehru Announces Gandhi’s Death, Birla House, Delhi, 1948.
Dessau, Germany, April, 1945.
World’s Fair, Brussels, 1958.
Simone de Beauvoir, Paris, 1946.
New York, 1960.
Bankers Trust, New York, 1960.
Near Strasbourg, France, 1944.
The arrival of a boat carrying refugees from Europe reunites a mother and son who had been separated throughout the war, 1946.
Communist students demonstrate against the black market. Behind them is the Soon Bank, owned by Chiang Kai-shek’s father-in-law, 1949.
McCann-Erickson Agency, Madison Avenue, New York, 1959.
New York, 1947.
Daughters of the Confederacy, Richmond, Virginia, 1960.
San Francisco, 1960.
Irène and Frédéric Joliot-Curie, Paris, 1945.
Waiting in Red Square to visit Lenin’s Tomb, 1954.
The Great Leap Forward, China, 1958.
Printer, Paris, 1969.
Hamburg, Germany. The sign reads, “Looking for any kind of work.” 1952-1953.
Automobile Show, Paris, 1968.
Brie, France, 1968.
La Châtre, France, 1968.
Near Rennes, France, 1960.
La Villette, Paris, 1929.
Truman Capote, New Orleans, 1947.
At the Le Mans Auto Race, France, 1966.
Visit of General de Gaulle, Munich, 1962.
Pause Between Two Poses, 1989.
Martine’s Legs, 1967.
Bernay, France, 1960.
ZIS Factory, Moscow. ZIS is an acronym for “Factory named for Stalin.” 1954.
Tel Aviv Muzeum umění
The elegant design for the Tel Aviv Museum of Art Amir Building resolved the tension between its tight, triangular site, and the museum’s need for a set of large rectangular galleries. Architecture firm Preston Scott Cohen, Inc. solved the problem by using slightly twisting geometric surfaces to connect the disparate angles between the galleries and their context. The individual galleries are organized around the „Lightfall,“ a spiraling 87-foot-tall atrium. This provides abundant natural light, which is in turn refracted into the deepest recesses of the partly underground building. The new building also refers to the original building, as if it has a „family resemblance,“ while still relating to new Israeli architectural culture.
THE STROM
FARM Singapore created a sculptural light instillation called The Tree at the National Museum of Singapore, The team explained that the sculpture “is the huge old banyan tree that sits majestically on the museum’s front lawn, seemingly holding fort to a place full of histories, stories and magic.”
