Christmas in Paris, France Excerpt Noël à / in Paris photography by Albert Russo with a review by Adam Donaldson Powell

Professional Reviews
by Adam Donaldson Powell
ALBERT RUSSO – Poet as photographer / Photographer as poet.

Essay by Adam Donaldson Powell

Albert Russo – novelist, essayist, short story writer, poet ..... photographer.

published in the December 2007 issue of Taj Mahal Review, India

Of some fifty-five book publications to-date, eighteen of Russo’s books are photographic essays. These titles include impressions from travels around the world, quirkiness and humour in human experience, studies of sculptures, autobiographical essays with photography as the medium, and more. Had Russo not had such a passion for art and literature, he would surely have had a fine career as a photojournalist for commercial publishers of travel books, travel guides and travel magazines. However, Russo’s inclination towards the artistic and social elements of human predicament and expression, coupled with his love of poetry, has resulted in a myriad of publications which effectively express poetic and literary curiosity through poetry’s modern-day “first cousin”: photography. I use the word “curiosity” intentionally as Russo never forces his impressions upon us as an expression of “truth”, but rather guides us through his own personal experiences and thoughts through visual exposés. Sometimes the progressive order of photographs in some of his books can seem somewhat illogical as Russo presents us with his own “connections” between impressions as he sees them as an artist – rather than grouping photographs in an order that an advertising executive or commercial travel book might choose. This is Russo’s prerogative, his perspective .. and an important aspect of his own unique poetic expression.

Some of his photography books are combinations of texts and pictures, and others are without texts. The absence of titles is a bold artistic statement in itself, relying upon the strength and the progression of photographs themselves to tell the author’s/photographer’s personal story. Personally, I prefer the books that consist of photographs alone as I do not always relate to the accompanying texts and find them sometimes to be as annoying as I find signatures on the front side of paintings (when the signatures not only do not add to the overall work of art, but actually detract from the viewing experience). But this is a question of personal taste. Having a background both within visual art and poetry, I – like Albert Russo – am capable of understanding the “poetry” in the photographic presentations without explanation or added literary decoration. I think this is true for many (if not most) persons who enjoy photography books as works of art.

Russo’s photographic essays to-date include: “A poetic biography”, “Brussels ride”, “Chinese puzzle”, “City of lovers”, “Granada”, “En / in France”, “Israel at heart”, “Italia nostra”, “Mexicana”, “New York at heart”, “Pasión de España”, “Quirk”, “Rainbow nature”, “Saint-Malo”, “Sardinia”, “Sri Lanka”, and his newest: “Body glorious” and “Norway to Spitzberg” (both released in 2007). These are almost exclusively full-colour photos .. a medium which Russo plays with combining childlike naiveté and curiosity for the unusual aspects of the “banal”, and exciting excursions into the nature and the planet’s overall cultural diversity, with a broad palette of professional techniques. Russo goes to great pains to mix traditional images with their contemporary partners and counterparts, and to play with exposure, light, filters and clarity/non-clarity in order to exaggerate aspects of the culture and to communicate his own personal experiences and sensations. I would like to see a photographic essay by Albert Russo, in which he translates his interactive communication between photographer/poet and subject to the medium of black and white photography. I am certain that Russo would find even more exciting nuances and enigmatic photographic puzzles through the usage of light, shadows, layers of greyness etc., which would even further enhance his natural highly-effective ability to penetrate beyond picture-taking .. and far, far into the inner energy forms and thoughts of his photographic subjects/objects and their surrounding environment/conditions.

Perhaps the most unusual photographic essay is his “A Poetic Biography”, published in 2006. The book is exactly what the title suggests: a collection of photographs of Russo, his family members and friends in various situations and environments, and over a period of several decades. Here Russo includes both photographs of people (colour and some black and white), photographs of letters and telefaxes, telegrams, articles on Russo as an author etc. – all without explanation or commentary. In this way, Russo uses the classic “first person” style of prose-writing to create an almost surrealistic glimpse into the inner reaches of Russo’s personality, history, personal life, ambitions and self-identity. The book leaves us with a yearning to discover that personal aspect which Russo has not commented on, but which most other artists and authors usually make no bones about proclaiming ad nauseam: namely, his dreams .. and what his life might have been like otherwise.

Another fun and beautiful photographic exposé is Russo’s latest book: “Norway to Spitzberg”. I have previously reviewed this book and commented:

“Albert Russo's photographic essay illustrating a cruise ship voyage with the Costa Atlantica («La città ideale») along the coast of Norway, from the city of Bergen (birthplace of composer Edvard Grieg) to the top of the globe (Spitzberg) is fascinating not only because of his realizing the full circle of «post-post-realism» in modern photography, but also because Mr. Russo transforms the tourist «photo-stalker» experience into the creation of a professional visual compendium – combining dramatic and magnificent seascapes, fjordscapes and landscapes with the intimacy of still lifes, the humanity of people at work and play and in their quiet, alone moments, as well as the extremities of fauna, and indigenous peoples and their cultural expressions and living environments. It is not difficult to understand that Mr. Russo is also an accomplished poet and a master of prose-writing. The stories he tells in this photographic essay are not a mere show of proficiency as regards each individual work of art, but rather a dance of images as vivid as an operatic performance – full of passion, drama, silences, humour and music. Mr. Russo has employed a Canon digital Ixus 55 - 5.0 megapixels camera, with 3x optical zoom. His «eye» for discerning, and his talent for capturing the «photographic moment», the mastery of light and clarity vs. slight distortion etc. is a testament to his delicious sense of artistry as well as his empathy for the experience of being human.”
Out of curiosity, I took contact with Albert Russo to ask him to comment on his love for photography. Here is his comment:
“In response to your question: I've always liked photography, from my adolescent years in Africa, actually I loved filming too and my 8mm or super 8mm films looked more like stills than films, people would complain telling me, oh god, five minutes on the same object, flower, trees, landscape, whatever, enough already! Ever since my African days I've been taking photos with all kinds of cameras, from the standard Kodak box, to the famous German Minox, to the Fujica ST-605 (wonderful camera that accompanied me everywhere) - often using the Rexastar lens for close-ups (1:3.5 - f- 135mm), alternately with the smaller but very friendly Minolta 70W Riva zoom, and now with the Canon digital Ixus 55. I have probably forgotten a few other cameras I had. Oh I used to take many colour slides in Africa (which I still have tucked somewhere and should think of printing the best). Poetry and photography? They are always closely related. A good picture tells a thousand things to the beholder if he/she pays attention to it, and the 'right' word suggests a thousand other things, that is why I never like to simply write captions under my photos. Actually now I do not wish to write anything at all, the photo must speak to you on its own.”

In conclusion, I would recommend that art photography and poetry enthusiasts take note of this talented artist. As one who has reviewed his collected poetry and read many of his novels, short stories and essays, I can attest that his literary talent complements his photographic expression. Albert Russo is artistically self-integrated in all of his creative disciplines.

Copyright 2007, Adam Donaldson Powell.

ADAM DONALDSON POWELL (Norway) is a literary critic and a multilingual author, writing in English, Spanish, French and Norwegian; and a professional visual artist. He has published five books (including collections of poetry, short stories and literary criticism) in the USA, Norway and India, as well as several short and longer works in international literary publications on several continents. He has previously authored theatrical works performed onstage, and he has (to-date) read his poetry at venues in New York City, Oslo (Norway), Buenos Aires and Kathmandu (Nepal). Visit the author’s website: www.albertrusso.com



*
Albert Russo * BP 640 - 75826 Paris cedex I7 - France * tel: 33I.4766 4459
homepage: http://www.albertrusso.com * e-mail: albert.russo@orange.fr

Albert Russo, City of lovers / City of wonder - Parie la Grosse Pomme - Xlibris 2007, 80 pages. édtition de luxe: $ 32,99 ou € 30 - édition ordinaire: $ 26,99 ou € 25 commandes: www2.xlibris.com/bookstore/bookdisplay.asp?bookid=36216


Albert Russo, l’écrivain, le poète, est parti, cette fois-ci, en photographe à la rencontre de Paris et de New York . Il nous promène à New York comme à Paris d’une manière qui lui est toute personnelle . Séduit par ces deux villes de légende, cet adepte de la promenade active les parcourt non en voyageur mais en habitant . Albert Russo sait prendre un certain recul, le regard sait où s’attarder, l’œil curieux du photographe saisit un fragment d’action , une personne , un objet .

Il s’agit d’un recueil de clichés pour la plupart pris dans la rue et notre photographe n’est pas un photographe des rues vides, la rue est un théâtre où « jouent » des passants anonymes . L’ouvrage alterne scènes de rues et vues d’architectures : verticalité de New York et horizontalité de Paris, vision non exhaustive car ces villes sont toutes deux difficiles à résumer .

Nous feuilletons ce carnet de voyages et voyageons ainsi entre Paris et New York : constants va-et-vient . Promenades et paysages de rues (pp.62-63). Paris , New York, villes fleuries (pp. 42-43). Terrasses de café parisiennes, farniente et joie de vivre, marchands ambulants, boissons alignées, exposées sur des chariots à l’ombre d’un parasol publicitaire qui vante une marque de saucisse : nous sommes au pays du hot-dog et de la restauration rapide (p.34-35). Tavernes, pubs, restaurants pour un « Paris sur Tamise » mais c’est l’heure du cocktail dans un bar de Times Square : bouteilles et flacons sont incrustés dans une tour ronde, en bois, surmontée d’une horloge digne de celle de Grand Central (pp.50-51) .

Quartiers paisibles, « mews » : ruelles, ancienne écuries, volets et fenêtres à guillotines , feuillage rampant qui s’accroche aux façades des maisons new yorkaises . Etoffe de feuillage pour habiller des fenêtres à la française, tapis de verdure qui recouvre les murs (pp.2-3) . Larges artères d’eau, on se promène sur la Seine en bateau-mouche, on emprunte un taxi fluvial sur l’Hudson ou sur l’East River (pp.44-45) .

Kiosques à journaux . Quelles sont les dernières nouvelles ? A Paris, les magazines sont exposés en vitrine . A New York, sodas, eaux minérales et sucreries sont mis en vente 24 heures sur 24, le distributeur de billets est perpétuellement disponible, le dollar est roi ! Mais où sont les journaux ? Ils sont discrètement rangés tels des rouleaux de tissus sur une table roulante . Va-t-on bientôt servir le thé ? (pp.20-21).
Notre écrivain–photographe entretient une relation affective à ces deux villes . La photo est ici une seconde écriture .

Albert Russo a su capter l’énergie qui circule à New York, ville-pays tout en couleur, tout en mouvement et il a su montrer la plastique qui s’affiche à Paris . Il a su photographier, dans ces deux cités, des lieux de rencontres qui montrent ce qui se passe «ailleurs.» Il aime toutes sortes d’images . Il s’agit d’un travail talentueux qui vise à constituer une mémoire visuelle . Les cadrages sont parfaits, les photos sont claires et lumineuses .

Bon voyage dans « la ville qui ne dort jamais » et dans la Ville lumière !

Brigitte Gabbaï

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