This coming Monday, on the evening of November 20, Douglas I. Sheer, president of the critically acclaimed series Artists Talk On Art, will conduct a virtual interview with me, hosted via Zoom. I invite all readers of this blog to join me for this event, which is free and open to the public. There’s no registration required; just log in via the link below, shortly before 7 p.m. EST […]
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In the end, it seems fittingly ironic that the Occam’s-Razor explanation for all of Capa’s missing D-Day negatives turns out to be the scissors of the censor. The legend of the lost negatives resulted from nothing more or less than the needs of Capa’s outsize ego. […] I have come to believe that Capa’s actions on D-Day resulted from considered planning and calculated risks. He knew that he would have only a short time on the beach. He knew that he had to get back quickly to some ship — preferably the Chase, but if not another — in the convoy scheduled to depart at noon for the English coast. That represented his only hope of getting his films to LIFE on time. […] So when Capa clambered onto LCI(L)-94, it wasn’t a result of knowing it would get him back to the Chase. It was simply his best chance to get off the beach quickly with his films. Lt. Gislason recognized Capa’s name and understood the importance of his films and his assignment for LIFE. So they flagged down one of the Chase‘s returning LCVPs that they encountered on the return trip. […] |
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Four Score: A Chronology
My mother Frances gave birth to me at Brooklyn Jewish Hospital in New York City on December 19, 1943, and brought me home to our rented house on West 11th Street in Greenwich Village. […]