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magazine, used as an example of a creative approach to reportage and documentary work. One writer, in discussing his picture 'School's Outâ, notes that Berg was âwell-known for his photographic studies on sociological questions and problems, which frequently appear in the Sunday picture section of
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let him do the job he's set out to do better and more easily than other types of available equipment. His well-defined concepts about pictures, photojournalism, and the picture story, his analysis of his own approaches to technical problems and equipment, and his auto-descriptions of a working
258:
In a chapter titled 'The Craft of the
Photojournalist', Paul BergâŚhas concocted one of the finest blends of inspiration and execution that we've seen between hard covers in a very long time. Staffman Berg makes it plain that he's a 35-mm man because his
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exhibition that was seen by 9 million visitors. Berg's version, shot from a high, distant vantage point overlooking a thronging city street, shows children joining hands and dancing amidst cars and parked trucks. His colleague on the
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pressman's problems and methods on assignments⌠are summed up in this simple statement of purpose: "Because his goal is to catch life as it is, the photojournalist interferes as little as possible with what is in front of his camera."
357:. He died in 1984. He and Bea, who died 2 February 1990, had no children but were cared for in later life by their nephew and two nieces to whom they were close. Bea donated much of Berg's photographic archive in 1987 to the
725:
Gary W. Ferguson, 'Record-breaking photo show comes to St. Louis; famous 'Family of Man' exhibit, containing 503 pictures, opens tomorrow at City Art Museum,' St. Louis Post-Dispatch, Sunday, 03 Jun 1956,
304:
Berg maintained his interest in action, often tackling animal subjects from dachshunds to elephants, and performance; he was one of several photographers whose images of children dancing
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changed from a full-size broadsheet to a tabloid format in
November 1959. Julius H. Klyman, editor of the Sunday supplement used Berg's photography, as well as that of co-staffers
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even for subjects like the theatre, an example being âBetween the Actsâ, showing a wardrobe mistress adjusting a dancer's costume during final dress rehearsal of the
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was a bold attempt to launch the colleagues' careers in journalism, described by Morris as; "a radically different college publication, its news section modelled on
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New York bureau from 1952-1972, when the newspaper closed the office and recalled him to St. Louis. Commentary on his newspaper work appeared frequently in
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John M. Mcguire, 'A Picture Story: Photographs Tell the
History of the Post-Dispatch Sunday Magazine, St Louis Post-Dispatch (MO), December 1, 1996
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which was still then regarded by
American picture editors as âminiatureâ, and not worthy, or capable, of quality reproduction, unlike their
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A review of the Kaprow installation appeared, with photographs by Berg, in the St Louis
Dispatch PICTURES supplement, Sunday May 19, 1963
246:
who had accepted the legitimacy of the smaller format before the war. Berg wrote about the value of 35mm in the thirteenth edition of the
114:. During this time Berg married Beatrice ('Bea') Bunes Berg a freelancer who from the 1960s contributed arts criticism published in the
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Steichen, Edward; Sandburg, Carl; Norman, Dorothy; Lionni, Leo; Mason, Jerry; Stoller, Ezra; Museum of Modern Art (New York) (1955).
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407:( / foreword by William H. McNeill; afterword by the author ed.), University of Chicago Press (published 2002),
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636:. Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation.
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Meyer-Hermann, Eva; Perchuk, Andrew; Rosenthal, Stephanie; Kaprow, Allan; Getty
Research Institute (2008),
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84:â They and their colleagues went into professional careers: Paul Berg became a staff photographer for the
856:"'One's creative imagination was set free': Lichtenstein: A Retrospective at Tate Modern III â Tate Etc"
831:"'One's creative imagination was set free': Lichtenstein: A Retrospective at Tate Modern III â Tate Etc"
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of 1/50 sec. a f/32. However, other shots during the same session were made on a medium-format
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in 1978, and the couple retired to
Manhattan before, around 1980, he began suffering frail health.
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from the ceiling, and fired one on camera diffused with a handkerchief over the reflector for an
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333:âs âPush and Pull: A Furniture Comedy for Hans Hofmann'. Other artist portraits he made include
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November 27, 1957 â April 15, 1958 (picture of Lever House), The Museum of Modern Art, New York
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dancers in full flight, for which he returns to the 4âx 5â camera (a 1940s 'Meridian') using 4
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in
September, 1937 which they published until March, 1941, when America became involved in
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Hurm, Gerd, 1958-, (editor.); Reitz, Anke, (editor.); Zamir, Shamoon, (editor.) (2018),
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Berg, like most news photographers of the 1940s, used a cumbersome large-format
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Obituraries; 'Beatrice Berg, former writer for Post-Dispatch, The Times,'
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While living in retirement in
Manhattan, Berg suffered a series of small
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for high-definition colour photography of performances; a 1957 issue of
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devoted to the theme âActionâ, uses Berg's example of a colour shot of
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during 1981/2 and a major one in late 1982, then was diagnosed with
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Morgan, Willard
Detering; Lester, Henry M, (joint author.) (1956),
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Picturing an exhibition : the family of man and 1950s America
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Popular Photography, Sep 1947, Vol. 21, No. 3, pp. 72â3, 84
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The family of man revisited : photography in a global age
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Popular Photography, Nov 1946, Vol. 19, No. 5, pps. 61, 66, 78
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Albu, Cristina, (editor.); Schuld, Dawna, (editor.) (2018),
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Get the picture : a personal history of photojournalism
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January 24 â May 8, 1955, The Museum of Modern Art, New York
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was an American photojournalist for the St. Louis, Missouri
215:, before the gala opening of a new season. Berg used a 4x5
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known at different times over its nearly six decade run as
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American photojournalist and commentator on photojournalism
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Perception and Agency in Shared Spaces of Contemporary Art
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Beatrice Berg, 'Music: The Rise, Fall and Rise of Rabin',
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were assembled in an installation in the round by curator
26:, and also wrote about the practice of photojournalism.
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Popular Photography, Feb 1949, Vol. 24, No. 2, p.66, 80
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Popular Photography, Aug 1948, Vol. 23, No. 2, p.36, 73
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Beatrice Berg, âSusan Sontag, Intellectuals' Darling,â
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Beatrice Berg, 'âInquestâ: Its Author Speaks For It',
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https://oac.cdlib.org/findaid/ark:/13030/tf9d5nb3dv/
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Popular Photography, Apr 1957, Vol. 40, No. 4, p.88
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Popular Photography, Mar 1956, Vol. 38, No. 3, p.24
250:in 1956. In reviewing the newly released manual,
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755:, Los Angeles Getty Research Institute, p.
706:(1st ed.), University of New Mexico Press,
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403:Morris, John G. (John Godfrey) (15 June 2002),
633:The family of man: The photographic exhibition
238:In the 1950s Berg became an advocate for the
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687:) CS1 maint: numeric names: authors list (
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341:at the Leo Castelli Gallery in New York.
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371:Photographs from the Museum Collection
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329:In April 1963, he documented artist
68:, a monthly survey in the manner of
140:After the War, Berg worked for the
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377:70 Photographers Look at New York,
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223:Superpan Press film, hanging one
959:Life (magazine) photojournalists
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550:( ed.), Morgan & Morgan
493:"[Paul Berg collection]"
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182:St. Louis Post-Dispatch Magazine
38:, Paul Berg in partnership with
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42:issued a student newspaper
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547:Leica manual and data book
248:Leica Manual And Data Book
949:American photojournalists
752:Allan Kaprow--art as life
213:St. Louis Municipal Opera
74:, and photographs of the
923:The Museum of Modern Art
702:Sandeen, Eric J (1995),
902:"MoMA master checklist"
143:St. Louis Post-Dispatch
87:St. Louis Post-Dispatch
456:, May 3, 1970, Page 99
428:St Louis Post-Dispatch
312:for the world-touring
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244:counterparts in Europe
195:Berg retired from the
174:Post-Dispatch Magazine
116:St Louis Post-Dispatch
651:, London I.B.Tauris,
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50:. Berg served in the
36:University of Chicago
881:Paul Berg collection
90:, John Corcoran for
78:type, like those in
359:Library of Congress
274:Popular Photography
252:Popular Photography
149:Popular Photography
121:The Washington Post
93:Science Illustrated
56:Battle of the Bulge
919:"Paul Berg | MoMA"
808:has generic name (
676:has generic name (
572:has generic name (
480:The New York Times
467:The New York Times
454:The New York Times
383:The Family of Man,
127:The New York Times
790:978-1-315-43713-2
766:978-0-89236-890-7
713:978-0-8263-1558-8
658:978-1-78672-297-3
443:, January 8, 1967
414:978-0-226-53914-0
315:The Family of Man
160:Sunday supplement
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497:www.loc.gov
365:Exhibitions
355:oral cancer
300:Recognition
292:Type B 200
286:flash bulbs
240:35mm format
178:PD Magazine
98:Myron Davis
943:Categories
928:2019-10-24
888:2020-03-26
865:2020-03-26
840:2019-10-24
554:2019-10-24
503:2019-10-24
390:References
345:Later life
290:Ektachrome
233:Rolleiflex
190:Jack Gould
321:Dispatch,
225:flashbulb
203:Technique
20:Paul Berg
798:citation
666:citation
562:citation
278:flamenco
229:exposure
197:Dispatch
166:PICTURES
158:Dispatch
351:strokes
254:wrote:
71:Fortune
54:at the
34:At the
884:, 1946
854:Tate.
787:
763:
710:
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499:. 1946
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261:Leicas
180:, and
124:. and
905:(PDF)
726:p.146
221:Ansco
60:Pulse
44:Pulse
860:Tate
835:Tate
817:link
810:help
785:ISBN
761:ISBN
708:ISBN
689:link
685:link
678:help
653:ISBN
581:link
574:help
409:ISBN
337:and
288:and
284:#22
219:and
156:The
102:Life
100:for
81:Life
65:Time
757:163
294:ASA
282:G-E
48:WW2
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