Word: peress
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Dates: during 1980-1989
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...stage, the American Music Theater Festival had to play Rimsky-Korsakov to Ellington's Mussorgsky. Ellington's original libretto was recast by George C. Wolfe, the tunes were fitted with new words by George David Weiss, and the score was reworked by Conductor (and sometime Ellington collaborator) Maurice Peress under the supervision of the composer's son Mercer. The trick was to minimize the book's implausibilities while making the most of the score's seductive melodies...
...religious feast in Guatemala, a man playing the role of Judas is "hanged." Most photographers would show his whole figure. Gilles Peress gives us just his feet, dangling from the top of the frame, an acknowledgment that this bit of village pageantry has its share of the airborne sublime. A statue is carried through the streets in a Holy Week procession. Peress crops out the bearers, the better to invest the figure with an unearthly life of its own. His colors are deeply saturated reds and purples that push his shots into the realm of theatrical fantasy. These...
...work by Peress is typical of the pictures in this show, the best of which go well beyond the confines of illustration. Indeed, four of the photographers -- Harry Gruyaert, Alex Webb, Rio Branco and Jeff Jacobson -- are represented largely by shots that have never even accompanied a story. For one thing, many of these pictures strike a note sounded earlier by photographers like Lee Friedlander and the late Garry Winogrand, men who used the documentary approach for more personal ends. In the 1960s they discovered from snapshots (and from the groundbreaking work of Robert Frank) how the eccentricities of naive...