This is about a print, specifically “Marble Quarry, Barre Vermont c.1960” which was requested by my late dealer Therese Dion shortly after we had closed my exhibit “Les Femmes” at her gallery here In Montreal.

I was surprised, but she told me that she had wanted to see a beautiful print of that image for a long time, but wanted Les Femmes on the wall before she pushed me to make it.

The print I finally made does everything I want a black and white print to do. Unlike digital prints, you can go beneath the surface, in fact it invites you to do that. I keep looking at it and it speaks to me.

Now Therese is gone, she was showing work right up to the end. I miss her. Until recently I thought that beautiful black & white paper would also be gone, but I hear that a new art photographic paper has been successfully tested and will be on the market soon. I can’t wait.

This print, 20”/16” printed on Agfa Classic was made by me in 2003 and has my log #3555. It is framed in black wood.

I think at 81, the title of this blog entry speaks for itself. But just in case you are confused, I had to be lowered 800 feet by cable in a bucket to photograph this wondrous environment. I was working on a Carborundum Company assignment for their legendary corporate art director, Richard DeNatale. Thanks Dick.

If you want information on acquiring this you can contact me or one of my dealers

george

This exhibition of 26 photographs reveals the diversity of the Museum’s photography collection of nearly 3000 works. I am honored to be newly represented in it. For once, a name which begins with “Z” has been an advantage!

I look forward to the public discussion about my work and all things photographic with Charlie Stainback, the Norton’s Curator of Photography. This is a time of fast moving technological change which makes photography ubiquitous, but it does not make it easier to have a good eye.

To go digital or traditional is a choice.. to understand what you are photographing is probably a more important choice.
george z.

Houston Center of Photography will auction my print on the evening of Feb 23 2011

Hopscotch, NYC 1951

Make a bid for this print donated by John Cleary Gallery in behalf of Elaine & me.
I shot it, I developed it ; I printed it; I signed it, and I think it will make you happy.
It’s getting difficult to remember quiet Sunday mornings in New York City. This will help. gsz

Sold for $3400 U.S.

Intellectual Property- comments on Bill 32

George S. Zimbel, Photographer/Artist

In Canada, land of the good, the parliament will soon vote on a revision of the copyright law. It’s called Bill C-32. Sound good? Intellectual property. Sound good? Prevent the exploitation of the educational marketplace by greedy artists and their families? That doesn’t sound so good. How about giving everybody in Canada the right to use words, pictures, music etc., all that creative stuff, free for the benefit of the educational system. That sounds like a politician at work. How about textbook companies not charging for their product. How about the owner of a school bus company not being paid for the use of his fleet.

Let’s start again. Simon Alwin (fictiious name) has worked hard in business, paid his taxes, and put away a considerable fortune in stocks and bonds which he plans to give to his grandchildren so that they will be able to follow a career path that hopefully will benefit mankind. He’s that kind of guy. Grew up poor, matured rich..good. However, the government of the day has decreed that anything he made before1988 won’t belong to him..it belongs to everybody. You can just hear him yelling on the phone to his lawyer “IT’S MY PROPERTY” THEY CAN’T DO THAT!!”

That’s what I am saying. “IT’S MY PROPERTY” THEY CAN’T DO THAT!!” After more than sixty years as a photographer/artist, I am in a harvesting mode. I want to get benefit from my work for myself, my wife and family. I want to control how it is used and what is paid for that use…and I want to pass the benefit on to my family. In the case of successful capitalists, they pass on money. Artists, pass on their work which may or may not have monetary value. Time tells and they understand that. But in our society, artists are suspect. Of what? That’s a little obscure, but it ain’t good. If I have the audacity to demand payment for my intellectual output, I am accused of being a money grabbing aesthete. Not true; I am a worker.

Simply put an artist’s property should be treated with the protection of any other property. That is a simple concept that members of parliament of all parties should be able to understand and respect. Bill C-32 does not do this.

George S. Zimbel
Montreal 2010

United Nations-Cab in the rain 1955 ©George S. Zimbel

BACKSTORY: This traditional print, made by me was first shown at Galerie Art 45, Montreal in the 1980′s and later in New York, Valencia & Tokyo at exhibitions of my 1950′s work.
My wife, Elaine Sernovitz was the floutist of the UN chamber orchestra, a group of UN workers who played for pleasure. The musicians included diplomats, foreign correspondents, employees from the UN Korean Reconstruction Agency and other UN organizations.
After a rehearsal, Armand Vas Diaz, a Dutch newspaperman and cellist, escorted a countess who played the bass to a waiting cab. For those of you who would like to see Mr. Vas Diaz, I have attached a photograph. The elegant woman dancing with him is the wife of a New York Times correspondent,not the countess.
To make a bid at Drouot on the print “Cab in the Rain UN 1955″, contact the photographic expert Viviane Esders 00 33 1 43 31 10 10 or email: esders@wanadoo.fr