Supported by Elliott Erwitt, Whose Photos Are Famous, and Often Funny, Dies at 95 His camera could freeze moments in history, but he also had an eye for the humor and absurdity of everyday life. Dogs were a help there. Photographers with a comic outlook on life seldom win the acclaim granted to exalters of nature or chroniclers of war and squalor. Elliott Erwitt, who died at 95 on Wednesday at his home in Manhattan, was an exception. For more than six decades he used his camera to tell visual jokes, finding material wherever he strolled. His sharp eye for silly, sometimes telling conjunctions — a dog lying on its back in a cemetery, a glowing Coca-Cola machine amid a public display of missiles in Alabama, a mangy potted plant in a tacky Miami Beach ballroom — earned him constant assignments as well as the affection of a public that shared his sweet, Chaplin-esque sense of the absurd. He published more than 20 books, and his black-and-white prints are in photography collections throughout the world. His daughter Sasha Erwitt confirmed the death. Most celebrated for his witty snapshots of dogs, published in books with titles like “Son of Bitch,” “To the Dogs,” and “Woof,” Mr. Erwitt captured them as solitary animals with their own obsessions as well as personable interactors with humans. In an essay for Mr. Erwitt’s “Dogs Dogs,” P.G. Wodehouse wrote: “There’s not a sitter in his gallery who does not melt the heart, and no beastly class distinctions, either. Thoroughbreds and mutts, they are all here.” The popularity of Mr. Erwitt’s canine candids obscured the diversity of his work. He never specialized and always freelanced. A lifelong member and one-time president of Magnum, the esteemed collective of independent photographers — a co-founder, Robert Capa, invited him to join in 1953 — Mr. Erwitt took all kinds of assignments, from fashion to politics He photographed celebrities (Humphrey Bogart, Jack Kerouac, Marilyn Monroe, Che Guevara) for Life, Look, and other magazines, and he did travel campaigns for Ireland and France. A number of his images became famous. One of his most well known shows a veiled Jacqueline Kennedy holding a folded American flag during President John F. Kennedy’s burial at Arlington National Cemetery in 1963. Even better-known is one from 1959, of Vice President Richard M. Nixon poking Soviet Premier Nikita S. Krushchev in the chest during the so-called Kitchen Debate in a Moscow exhibition of American products. (The picture was turned into a poster by Republicans in the 1960 campaign, enraging the staunchly anti-Nixon Mr. Erwitt. “It was used without my permission,” he later said. “I was angry, but I couldn’t do anything about it.”) Another memorable photograph, from Edward Steichen’s landmark photo exhibition “The Family of Man” (and subsequent book) at the Museum of Modern Art in New York, was titled “Mother and Child.” Taken in 1953, it shows a woman on a bed looking into her baby’s eyes while a cat coolly surveys the scene. The baby was Mr. Erwitt’s daughter, Ellen, and the woman was his first wife, Lucienne Matthews, who died in 2011. Museums exhibited his work from the 1960s until his death, and over the years he received one-man shows at the Museum of Modern Art, the Art Institute of Chicago, the Museum of Modern Art in Paris and the Barbican in London. In 2002, a comprehensive retrospective was mounted at the Museo Nacional Centro de Arte Reina Sofia in Madrid. Elio Romano Ervitz (“Romano, because my father had once attended the University of Rome” and “liked it”) was born on July 26, 1928, in Paris, the son of a Russian Orthodox Jew (there were many Talmudic scholars in his family) and his Russian wife. They had fled to France after the 1917 Revolution. In an autobiographical essay in his book “Personal Exposures” (1988), Mr. Erwitt wrote that his father, Boris, had never lost faith in socialism and had blamed his wife, Eugenia (Trepel) Erwitt (“embarrassingly rich as a young girl”), for the couple’s exodus from “the Promised Land of the Soviet Paradise.” After moving the family to Italy, his father found Mussolini’s regime intolerable and shuttled everyone back to France in 1938. Although Boris and Eugenia had separated in Milan when their son was 4, the three left together on a boat for the United States a year later, a few days before World War II began. Elio Ervitz became Elliott Erwitt in New York but continued his peripatetic life. After two years living with his salesman father on Central Park West in Manhattan, father and son drove across country to Los Angeles in 1941, the two selling wristwatches in small towns en route to pay their way. A few years later, his father was off again, this time selling his wares in New Orleans and leaving his 16-year-old son to fend for himself. Boris later traveled to Japan to be ordained as a Buddhist priest and returned to practice his adopted religion in Manhattan. Mr. Erwitt credited “shyness” — he had arrived in New York speaking no English — with making him a photographer. He began seriously taking pictures in Los Angeles with an antique glass-plate camera when he was 16, then upgraded to a Rolleiflex. “My dentist was my first customer, then people’s houses and children, then the senior prom,” he wrote. Photos of movie stars also sold well. After graduating from Hollywood High School, he studied photography at Los Angeles City College, took a job in a commercial dark room and hustled for work. In 1949, he headed back to New York, where he met Capa and Steichen, studied film at the New School for Social Research and enjoyed a nascent professional career before the Army drafted him during the Korean War. While serving in 1951 with an Army Signal Corps unit in France, he took a picture of soldiers killing time in the barracks. By his account, the photo changed his life. Submitting it to a Life magazine contest, he won a prize, and the photograph was published as “Bed and Boredom.” With the $2,500 check (“an astronomical amount at the time”), Mr. Erwitt bought a car and nicknamed it “Thank you, Henry,” after the Time-Life publisher, Henry Luce. The unheroic and the offbeat had already become signature motifs for Mr. Erwitt. He made his first dog-related pictures in 1946, for a fashion story about women’s shoes for The New York Times Magazine. One image from that assignment, of a panting Chihuahua in a sweater on a sidewalk next to a woman in sandals, was featured in many exhibitions. “I decided to photograph from a dog’s point of view because dogs see more shoes than anybody,” he reasoned. Mr. Erwitt tended to use a view camera for advertising jobs while reserving his 35-millimeter for personal shooting. Henri Cartier-Bresson was one of many who were astonished that his friend was so easily able to do both kinds of work. “Elliott has to my mind achieved a miracle,” Mr. Cartier-Bresson once said, “working on a chain-gang of commercial campaigns and still offering a bouquet of stolen photos with a flavor, a smile from his deeper self.” Speaking four languages, a facility that allowed him to find regular work in Europe during the 1950s, ’60, and ’70s, Mr. Erwitt relished the freelance life. “Some people can’t stand the insecurity, but I’ve never been overly bothered by it,” he wrote in 1988, adding that his unstable income stream was harder on his wives and girlfriends than on him. Mr. Erwitt was married and divorced four times: to Lucienne Van Kan, from 1953 to 1960; to Diana Dann, from 1967 to 1974; to Susan Ringo, from 1977 to 1984; and to Pia Frankenberg, from 1998 to 2012. In addition to his daughter Sasha, from his third marriage, he is survived by another daughter from that marriage, Amelia Erwitt; two daughters from his first marriage, Ellen and Jennifer Erwitt; two sons from his first marriage, Misha and David; 10 grandchildren; and three great-grandchildren. He lived on the Upper West Side of Manhattan for about 60 years. In the 1970s, Mr. Erwitt was among the first to benefit from the art market’s interest in contemporary photographs as an investment. Brokers bought prints in bulk for tax shelters. “That windfall bought my house in East Hampton,” he said. “Photographs and Anti-Photographs,” published in 1972, was the first in a string of Erwitt books. During this time he also produced and directed a series of short film documentaries: “The Many Faces of Dustin Hoffman” (1968), “Beauty Knows No Pain” (1971), “Red, White and Bluegrass” (1973), “The Glassmakers of Herat, Afghanistan” (1977), and “The Magnificent Marching 100” (1980). He continued making films in the 1980s, producing a series of 18 short comedies for HBO. But his goofy and agile still photography will undoubtedly be his best-remembered legacy. Along with dogs, nudity tickled him, and he found as much material on public beaches as on the streets. The human comedy activated his eye, even if he was hard-pressed to explain his process of seeing. “You can take a picture of the most wonderful situation and it’s lifeless, nothing comes through,” he observed. “Then you can take a picture of nothing, of someone scratching his nose, and it turns out to be a great picture.” The gentle humor of his pictures did not prevent him from maintaining a brusquely anti-intellectual stance toward what he did. He was wary of interpretation. “In general, I don’t think too much,” he wrote. “I certainly don’t use those funny words museum people and art critics like.” He believed photography was “a lazy man’s profession” that required only “modest ability.” The mystery of how he did what he did could not be explained, even by himself, and that seemed to please him. He concluded that “ideas, wonderfully entertaining as they can be in conversation and seduction, have little to do with photography.” Richard B. Woodward, a longtime art and photography critic in New York, died in April. Alex Traub contributed reporting.
Bears Twitter is going crazy over Marvin Harrison Jr.
It’s Rivalry Week in college football, and no game had higher stakes than “The Game” between the Ohio State Buckeyes and Michigan Wolverines. It had football fans captivated for over three hours on Saturday, with the Wolverines getting a close victory in the end, winning 30-24. It was a tough day for Ohio State, but one player continued to stand out even on the losing side: wide receiver Marvin Harrison Jr. The nation’s best college receiver once again put on a show, totaling five catches for 118 yards and a touchdown against one of the best defenses. He finished the regular season with 67 receptions for 1,211 yards and 14 touchdowns and could be making his way to New York as a Heisman Trophy finalist. Harrison Jr. isn’t unfamiliar to NFL fans, especially those who root for the Chicago Bears. But seeing as this could be his final collegiate game, Bears fans were out in full force on social media, hoping his next stop is the Windy City with one of the team’s (presumed) high draft picks in April.
The KLF care home: happy housing for old ravers – or just another prank?
Name: KLF Kare. Age: Zero; it just launched. Appearance: Unclear. Can’t you try to describe it? “KLF Kare is a multinational franchise that provides branding solutions for independently owned care homes.” There, that wasn’t so hard. What does it mean? No idea. So is it care homes, or branding solutions, or some kind of franchise business? Ask the KLF. The what now? The musical and artistic partnership of Bill Drummond and Jimmy Cauty, who as the KLF became the world’s biggest-selling singles act in 1991, before abruptly quitting the music business, deleting their back catalogue and burning a million quid on a Scottish island. Oh yeah, those guys. They’re back, are they? The duo, who have operated under such enigmatic and overlapping auspices as the K Foundation, K2 Plant Hire Ltd, The Justified Ancients of Mu Mu and the Timelords, have just released a new track, a remix of Harry Nilsson’s 1969 hit Everybody’s Talkin’. I love that song. A remix, you say? A “live from the after-life party premix”, in their words. Sounds like a great bet for Christmas No 1. It should be: in their 2017 novel 2023: A Trilogy, the Justified Ancients of Mu Mu prophesied that this single would reach No 1 this Christmas. I might regret asking, but what does any of this have to do with care homes? According to a new KLF website, the single is also the “winner of the first ever Kareovision Kristmas Song Kontest”. And what is that? “A recorded song contest for the strictly over-65s who are also residents in KLF Kare homes.” Who lives in these homes? According to the website, they are aimed at the “raver to the grave”. I feel as if I’m being sported with. That is often the case with the KLF. Drummond fired a machine gun loaded with blanks over the heads of the audience at the band’s farewell Brit awards appearance, while they once proposed a “People’s Pyramid” comprising bricks containing human ashes. So, is this a gnomic promotional prank or a sardonic comment on ageing? It could be both. Cauty and Drummond are 66 and 70 respectively. Just to be clear: there are no care homes? I don’t think so, but I don’t want to stick my neck out. Do say: “In fulfilment of the prophecy, it’s going to be a Kareovision Kristmas!” Don’t say: “Nurse, can you turn that music down?”
Arsenal boss Mikel Arteta uses hilarious analogy about dating his wife as he stays calm about Kai Havertz’s struggles
Mikel Arteta has provided Kai Havertz with a rather amusing analogy about his own marriage when advising the German how to get his Arsenal career going.
The £65million summer signing from Chelsea was named in Arteta’s starting line-up for the fifth consecutive game, this time a 3-1 Premier League win over Manchester United.
Havertz again struggled, though, missing a great chance early on when the ball fell to him as he fluffed a finish just outside of the six-yard area.
Without a goal or an assist to his name, questions have been asked about the versatile attacking midfielder, who Arteta was forced to defend ahead of the game.
And when asked by Sky post-match about Havertz’s tricky start, the Gunners manager used a slightly odd analogy.
Arteta began: “I said to him yesterday, things are a little bit hard at the beginning.
“When I met my wife at the beginning it was hard to conquer her, I had to try and message and go and go.
“At the end when she said, ‘yes, we want to be together’, it’s beautiful. I said in the first day you know it’s not that great.
“So it’s good, but I think the crowd was really good with him today.”
Arteta has been happily married to Miss Spain 1999, Lorena Bernal, since 2010, and the pair have three children together.
So with a bit of persistence, the former Chelsea man and Arsenal could still be a happy marriage.
talkSPORT football match centre
Keep up-to-date with all the latest Arsenal fixtures and results and live Premier League standings in our new match centre.
Wataru Endo thought Liverpool had completed Moises Caicedo move before ‘crazy’ week – The Athletic
Wataru Endo has revealed that he thought Liverpool had signed Moises Caicedo before they pursued him as an alternative option.
The Japan captain reflected on a “crazy” week after making his debut for Jurgen Klopp’s side as a substitute in Saturday’s 3-1 win over Bournemouth.
Endo, who completed a £16.2million move from Stuttgart on Friday, had been watching Liverpool’s pursuit of a holding midfielder with interest this summer, but assumed that search had ended when they agreed a £111m fee with Brighton for Caicedo. The Ecuador international subsequently opted to join Chelsea instead.
“To be honest I followed Liverpool’s news, that they wanted midfielders, they wanted a No 6,” Endo said.
“I thought Caicedo had gone to Liverpool! (Laughs). So when I heard he went to Chelsea I just thought ‘maybe’.
“I thought maybe they needed experienced midfielders or something like that, because (Jordan) Henderson and Fabinho had moved. I thought there might be a chance.
“I understand top clubs want young talent, but you know I just say to myself: ‘This is the only chance you can get to move to Liverpool because they usually try to get younger players.’ I got the chance and I intend to take it.”
The 30-year-old started the week preparing for Stuttgart’s Bundesliga opener against Bochum, but life was turned upside down by a call from his agent.
Asked when he was first aware that Liverpool wanted him, he said: “It was only three or four days ago. It happened so fast.
“My agent called me and I had to decide quickly. I couldn’t say no because to play in the Premier League was always my dream. I would always tell my agent I wanted to play in the Premier League for a top, top team, so here I am!
“I was getting ready to play in the Bundesliga. Now I’m playing here at Anfield in the Premier League in front of all these fans, it is crazy.
“I only had time for one training session so I just tried to get ready as best I could. I am an experienced player, so I needed to accept and deal with the situation.”
Endo has sought advice from former Liverpool attacker Takumi Minamino and Arsenal’s Takehiro Tomiyasu, two of his international team-mates, about what to expect at Anfield.
“Yesterday I talked with Taki about how the team is,” he said. “And also Tomiyasu about how the Premier League is, things like that.”
Endo came off the bench shortly after the hour mark on Saturday following an eventful few minutes which saw Alexis Mac Allister sent off and Diogo Jota fire Liverpool into a 3-1 lead.
“It was amazing to play here — a great feeling, a great atmosphere, to warm up and hear the fans chanting my name. They made such a special atmosphere and I so happy to play at Anfield,” he added.
“The manager just told me to play like I did in the Bundesliga, and try to do it like I have always done it. Physically, it was more difficult than the Bundesliga. Premier League teams have some very strong players so yeah there is a big difference.
The tempo is faster too. Here I will have to play more one touch football for example. I need to change the mindset, and adapt to play as a No 6 here.
“I need to keep working hard. I need time to do it better and adapt to the physicality but for me it is a great step I think.”
(Photo: George Wood/Getty Images)