Iconic Photographers

Magnum photographer Elliot Erwitt: Capturing irony, humor and humanity

Dog Legs, NYC. 1974
Photo by Elliot Erwitt
Bulldogs, NYC. 1988
Photo by Elliot Erwitt
Bratsk, Siberia, Russia. 1967
Photo by Elliot Erwitt
Marilyn Monroe, NYC. 1956
Photo by Elliot Erwitt
Springer, Paris. 1989
Photo by Elliot Erwitt
Dublin, Irelan. 1962
Photo by Elliot Erwitt

Magnum photographer Elliot Erwitt is one of the most prolific and legendary photographers of our time, with a career spanning over 60 years, 20 photography books, countless exhibits and several noted documentaries.

Armed with his Leica, Erwitt has traveled the world to capture humor, war and an authentic glimpse into humanity with skill and wit.

Thursday, September 22, Erwitt will discuss his life and work at The Harry Ransom Center at 7 p.m. The event is free to the public and will take place in the Jessen Auditorium at The University of Texas.

In honor of his trip to Austin, Erwitt was gracious enough answer a few of our questions:

CultureMap: How do you think documentary photography has changed from when you first started in the field?

Elliot Erwitt: Documentary photography will never change. What has changed radically is venues for it and, therefore, practitioners of the craft. It seems that the former ‘classical’ photographic essays have essentially vanished, although there is a ton of documentary photography depicting war, conflict, earthquakes, floods and other kinds of disasters. Sorely missing is the personal aspect of documentary reportage.

Sorely missing is the personal aspect of documentary reportage.

CM: What do you think of the immediacy of photography today, how everyone has cameras on their phone, they can upload a photo onto the Internet and share it with people across the world in 3 minutes?

EE: I think it is great for sending pictures of one’s children to their grandparents and for filling some idle moments. But it has to do with photography being as a pencil and a pad of paper are to writing a great novel.

CM: There is a lot of humor to some of your photographs, the dog photos and the phototoones. Is that something you have to think about or does it just come naturally?

EE: I don’t think about it while snapping the pictures. I do think about it when assembling an exhibition or laying out a book.

CM: You've been clear on your stance about digital photography and photo manipulation, do you ever use digital cameras?

EE: Only for commercial assignments when required. I still am wary of computers and all that goes with them.

CM: What has been your most memorable photograph or assignment?

EE: Hard to single out. Mostly I have been lucky to do more or less what has suited me personally and professionally. As far as memorable, I have a lousy memory.

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Hear more from the celebrated photographer Thursday night. If you can't make the event The Harry Ransom Center will simultaneously broadcast the discussion on their site.

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Historic Austin museum will close for more than a year for restoration

Photo courtesy of the City of Austin

The Elisabet Ney Museum will close at the end of 2024 and reopen in mid-2026.

Every building needs some maintenance here or there, and the historic Elisabet Ney Museum needs some extra-special care. Formerly the art studio and residence of its namesake, it's been standing since 1892. It'll spend 2025 in relative solitude, as it undergoes renovation for a year and a half with no visitors allowed.

The museum will close to the public December 30, 2024, and open again in the summer of 2026 if all goes according to plan, a news release from the City of Austin shares. It'll be a quiet period compared to the 21,000 people visiting from around the world each year.

According to a museum overview on the city's website, Elisabet Ney, a European portrait sculptor, bought the property and called her new studio Formosa. She worked on sculptures depicting important Texans like Stephen F. Austin and Sam Houston, and collected works of European contemporaries.

The building at 304 East 44th St. includes 3,700 square feet of museum space, which was converted by Ney's friends after her death in 1907. It retains its unique look that juxtaposes a Neo-Classical main studio from 1892 with a later addition from 1902 including a tower for her husband, Edmund, to write in. It is also on 2.5 acres of land, which has largely been restored to its natural state with native species.

A press release lists these tasks (verbatim) within the scope of the new work, referred to as the Capital Improvement Project (CIP):

Restoration of original exterior wood doors and windows
Upgrades and replacement of the heating, ventilation, and air conditioning system
Replacement of the exhibit and general lighting systems
Repairs to the roof, masonry, plumbing, and interior finishes.

There will also be work to do outside of the building. Workers will replace the pedestrian bridge across Waller Creek, stabilize a 20,000-square-foot portion of the bank, and make the grounds more accessible by adding new pathways.

Funding comes from several sources, according to a release: "the 2012 Bond, Proposition 14, the Parkland Dedication Fund, the Historic Preservation Fund, Partners in Preservation through the National Trust, and contributions from the Friends of the Elisabet Ney Museum."

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