- admirers watch ‘over him

‘and

“TORONTO (CP) — His

with nervous benevolence
and hang on his every word.’ -

The arty, the chic and the.
very rich gush over his work
snap up. prints,
autographed posters and
books: : with chequebook
abandon.

Art students knees turn to

“+ jelly and those who should

” know «better - ingratlate

‘shamelessly.

wee CEE

“But the slightly 9 stooped,
. white-haired. man takes the

fuss.in stride. 5 4:(.--
After all, at-age. 68 Andre

‘Kertesz. is.:-aniong: the ©

greatest.photographers to

* have ever lived ‘and he is
familiar with Such at-

tention.“

The occasion: this ‘time --

was a 70-year retrospective
of his work, shown at the
Canadian’ Centre’ of

‘Photography: in Toronto. .

45

The manna will travel to
many galleries across

- Canada and later to several

American cities.
Behind the show — but not
behind the scenes -- is Jane

Corkin, an” energetic 32-..

year-old. former -Bostoniart

_. Wha‘ opened Toronto's first ‘

serious Photography gallery
three. years ago. | ae
Corkin fell-ander the spell:

of Kertesz's| magic’ images

when she was a student of

“9 B

THURSDAY

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*

‘}Chandatts ”

art history at Queen's”
University in Kingston, Ont. '
When she went to work for
Toronto art dealer David
Mirvish, the first show she
handled was. a Rertesz °
exhibition: “

Since then the “two have -
hecome ‘close. ' Such is
‘Kertesz'a trust In Corkin. -
that ahe was not only given
- responsibility for: the .
current retrospective but
she also ‘edited the photos
for- a. new. book finaly -
tliled - Andre -Kertesz, .
Lifetime Of Perception.

- For the exhibition, Corkin
and. Kertesz. selected . 200.
- images. from among .
” ‘thousands taken since 1912.
They have done an excellent
+ job of juxtaposing -
‘photographs taken . ‘years’

. apart but based on similar

themes, such as’ children, .

chairs, shadows and city. -

streets alter. a rainfall.
More striking in this body

of work Is the Immensity of terwards like the e rest of us

-Kertesz's’ SCOpe: Parisian
cafes; hobos along the:
‘Seine: winter in Washington |

-' Square; distorted nudes;

still ~lifes;

abstracts,
“Tn the| past 40 years there

is. no great’ photographer

portraits . and

who hasn't looked at Ker-

- tesz,” says. Corkin. Because
_ he was.among the first, for |

example, to experiment —

“ with night photography and
distorted nudes, using.
_ mirrors, Kertesz’s influence —
on the ‘medium is in-

» calculable.

What's best, about’ Ker-
tesz’s work, however, is its.
-kecessibility. It requires
neither a formal, knowledge _

| NEW IN TOWN?

LET US PUT
OUT THE MAT
FOR YOU!

"ri asa ma ev *

, Nancy ‘Gourlie

. French-tinged accent.

“In B.C.: eal to'l free a
112-80i-268-6389, an

BRIT Ask for operator 508.

“of art not an n understanding
, Of photography to be ap--

preciated.
“Moat of what he’ s doing

‘is dealing with the human -
condition,’' says* Corkin: -

“He's dealing with ordinary,
people.” *

“One early image, Tender .
Touch taken in 1915, shows a
_-Mman flirting furtively with a
“woman in a field. Before

“then, photography had
consisted of pictorialism. —
stiff :Ulustratiqns. " Kertesz

_ was the firat to practise that -~
-. Kertesz. Pre-eminence "In

now-common photographic
creed “eateh the
“movement.”

roa

Another: exquisite ‘shot, 7
On. The Quais, shows the”
flash of a coin in the gloved.

_ hand of a gentleman‘ poised
to give it to some, ap-.

proaching ‘paupers. ;
It’s clicking the shutter
the second you see the
‘shot,”” Corkin. enthuses,
“not. thinking about It’ af-

x. ia

- But despite such casual
subject tmatter, - Kertesz’s

photography is. disciplined - or “Litson in his

> traduction . to. Kertesz’s .

‘and sophisticated. Every
image, right déwn tothe

recent series of views taken’
from his Greenwich Village.

‘apartment, ~ is beautifully

composed.

“T born for photography,”
Kertesz ‘says in a heavy,
4]
photograph the: way-T feel,

not. the way I[ see.. The:
camera only helps me. It.

has no.soul, not heart.
“Analysing . is

do (with-it}."
Hard: of hearing; -with

failing. vision and slightly
trembling hands, Kertegz -
contifives lo practisehis art.

“1 do. what: like to do,

always, But sometimes I not :
.-. 1 touch for _long ‘time: If no
_ J: Treason to’ do 1 don't touch '

-unoef. Me ae
oe

cards.»

“ aa he biochure, call ta tree ;
i re cal

me: 1-800-268-6362,
for operator 508.

your’.
busiriesa, I have nothing: to.

‘Canada: .

the camera,” >|
: “Age is age. I-am not in -

bad ‘condition — no com: .

plain.’* :

-He ‘adds that" his one.
sorrow is that he can no
longer’ drive: *:-Hid in-

- dependence’ suffers dearly .

— “Tiss, very’ I miss. "
That ©. this. . "major
retrospective’ of
Hungarian-born -
Yorker has been mounted in
Toronto isa happy story. for
the Canadian art world, but’
a. bitteraweet ond. for

his field hadn't come
without heartbreak.
A key > ‘figure. in the-

~ burgeoning - art seene- of
. Pafis “In: the: ‘208, Kertesz .
~ moved to"New York in’ 1936
only to find himself. ill.
suited to the ‘sometimes
- superficial

values

‘of |

the .-
“New. ;

commercial _ photography. -.,

Acontract with House and
Garden magazine did not:
work out, so he: freelanced..
But even. that was un-
considered

- either “too

eloquent or too modern for: .

commercial purposes, says

-Lateat book. And he didn't —
and still dgesn't —believe in
shooting” numerous rolls, of

. film.to obtain the ideal shat.
_ ‘Is good only for Kodak,"

the photographer: mutters.

Because Europe ‘was ‘on
the.-verge ‘of .war,s-he..
registered - in, the United

States as an enemy: alien —

and - as. such-“Wwas (barred
from. photographing. on the
streets.” Finally, after.

in- -

becoming an Ameiican .

citizen he went back to

. House And ‘Garden in 1947

fot-14 years. . |
‘Although he had his first:
‘solo show. in Paris in. 1927,
‘two, years after’ his. arrival
there, he wasn't accorded a.
solo exhibit in New York —

-Art — until 1964.
. So it. was with hitterness .”

: ‘that “he, recently - turned -
oe ‘down an: offer from. New!
York's -Métropolitan

‘Museum of Art fo mount the.
current retrospective, “
». “Americn didn’t aceept

Q me. ‘Now America wants to’.
. de everything, but T don't
_aeceph.”

_at the Museum of Modern :

~Aceordingly, hia ‘wish | ts ,

that the collection: remain in

the. price is reasonable. ‘But |

| she algo says that corporate. .
__-) Sponsorship “—- which “was --
we woetuily difficult to tind for: -
the. vexhibition =--will -be. |
; | pecetgory ifita to remaln

wo gd ee ddp ede ms hs athes Ba eweata tee hen ada! MND Phd ein pte pe a

It. would : “be as
. treasure, - and’ Corkin: SAYS

“-Bueeessful — his work was _