Leon Levinstein's New York
雷欧•莱文斯坦镜头里的纽约
Cheap perfume and fried chicken
廉价香水与炸鸡块
A new show of photographs should help to revive a forgotten name
一场新近的影展将使人们重新记起那枚遗失在岁月里的名字
Jun 17th 2010
AMID the fussy grandeur of the Metropolitan Museum of Art sits an unexpected show of photographs. "Hipsters, Hustlers, and Handball Players" is a collection of Leon Levinstein's black-and-white pictures of New York City from 1950 to 1980. They are raw and energetic, with rubbish-strewn streets, stooped old men, fat painted ladies and posturing youths in tight jeans. One photograph features a woman in a white party dress curled up on the beach, asleep and mysterious. Another sees two handball players snapped from behind, aloft and balletic.
富丽堂皇的大都会艺术博物馆正在筹办一场出人意料的摄影秀----名为"潮人、妓女和手球运动员"的藏品展是雷欧•莱文斯坦于1950至1980年间拍摄的、一组以纽约为主题的黑白照片。这组照片朴实无华，却也充满活力----在垃圾遍地的街道里，有身形佝偻�沮沮独行的老人；有浓妆艳抹、盛装打扮的胖女人；还有身着紧身夹克�搔手弄资的年轻人。其中一幅照片刻画了一位身着白礼服、在沙滩上蜷曲而眠的神秘女子；而另一幅则从背面捕捉到两名手球运动员弹跳的身影，颇有点跳芭蕾的架势。
These 44 images chronicle life as it is lived in the city: kinetic and rough, with little beauty but plenty of pride. Levinstein, who died in 1988, often shot his subjects up close and at odd angles. The result is often unflattering but affectionate, full of the small pleasures of the day-to-day. The gallery seems fragrant with cigarette smoke, cheap perfume and fried chicken.
这44幅照片按年代顺序记载着纽约市里真实而特有的生活场景：它活力四射却放荡不羁，缺乏美感却自命不凡。于1988年辞世的莱文斯坦常常用相机，以独特的视角近距离捕捉画面。这种摄影手法一方面使照片显得突兀直接，另一方面又使照片里充斥着日常中琐碎的趣事，流露出对生活的爱意。于是乎，仿佛有一缕缕混合了烟草、廉价香水以及炸鸡味的芳香萦绕于整个展览厅内。
Levinstein is a photographer's photographer. Beyond a core of devotees, his name rings few bells. He earned attention in the 1950s when Edward Steichen, as head of the photography department at the Museum of Modern Art, included him in a few shows alongside such peers as Diane Arbus and Robert Frank. But then he fell off the map.
莱文斯坦的作品为摄影师所欣赏，可他的名号在圈外却不响亮。不过上世纪50十年代，当时的现代艺术博物馆摄影分馆的负责人----爱德华•斯泰肯曾将他的作品与当时的大师级人物----黛安・阿勃丝 、罗伯特.弗兰克的，一同在几场摄影秀中展出，这倒为为莱文斯坦赢得了一点名气，但那之后他很快急流勇退，被人遗忘。
This could be because he stuck to a career in advertising, taking photographs (thousands in all, over several decades) only in his spare time. Or maybe it was because he was an unpretentious loner. He gruffly complained that being a street photographer meant that "you're always on the outside". Yet he seemed unwilling to have it any other way.
个中缘故，也许是源于他对广告事业孜孜不倦的追求，故而只能在业余时间拍摄照片（几十年间共拍摄了数千幅作品）；又或许是他本身就是一位谦虚的宅男----他曾毫不避讳的抱怨过：成为街头摄影师就意味着"不断地外出"。然而，他似乎也没想过另辟蹊径。
The photographs are now part of the Met's permanent collection, thanks to a big recent gift from a collector named Gary Davis. Jeff Rosenheim, the show's curator, hopes this new trove, which is on show until October 17th, will revive Levinstein's place among 20th-century photographers. The man himself may not have cared for such attention, but his work demands it.
现在，多亏了收藏家加里-戴维斯的捐赠，这些照片已成为大都会艺术博物馆的永久藏品。主办人杰夫•罗森海姆则希望这些稀世珍品能借由将于10月17日开始的摄影展，为雷欧•莱文斯坦在20世纪的摄影界找回一席之地----他本人可能对此不屑一顾，可他的作品却实至名归，理应重视。
谢谢yannanchen老师、插一嘴编审的提醒(*^__^*)
这幅应该是第一段里那个像芭蕾舞的照片，但是在沙滩上睡觉的女人我没办法复制�
雷欧•莱文斯坦镜头里的纽约
Cheap perfume and fried chicken
廉价香水与炸鸡块
A new show of photographs should help to revive a forgotten name
一场新近的影展将使人们重新记起那枚遗失在岁月里的名字
Jun 17th 2010
AMID the fussy grandeur of the Metropolitan Museum of Art sits an unexpected show of photographs. "Hipsters, Hustlers, and Handball Players" is a collection of Leon Levinstein's black-and-white pictures of New York City from 1950 to 1980. They are raw and energetic, with rubbish-strewn streets, stooped old men, fat painted ladies and posturing youths in tight jeans. One photograph features a woman in a white party dress curled up on the beach, asleep and mysterious. Another sees two handball players snapped from behind, aloft and balletic.
富丽堂皇的大都会艺术博物馆正在筹办一场出人意料的摄影秀----名为"潮人、妓女和手球运动员"的藏品展是雷欧•莱文斯坦于1950至1980年间拍摄的、一组以纽约为主题的黑白照片。这组照片朴实无华，却也充满活力----在垃圾遍地的街道里，有身形佝偻�沮沮独行的老人；有浓妆艳抹、盛装打扮的胖女人；还有身着紧身夹克�搔手弄资的年轻人。其中一幅照片刻画了一位身着白礼服、在沙滩上蜷曲而眠的神秘女子；而另一幅则从背面捕捉到两名手球运动员弹跳的身影，颇有点跳芭蕾的架势。
These 44 images chronicle life as it is lived in the city: kinetic and rough, with little beauty but plenty of pride. Levinstein, who died in 1988, often shot his subjects up close and at odd angles. The result is often unflattering but affectionate, full of the small pleasures of the day-to-day. The gallery seems fragrant with cigarette smoke, cheap perfume and fried chicken.
这44幅照片按年代顺序记载着纽约市里真实而特有的生活场景：它活力四射却放荡不羁，缺乏美感却自命不凡。于1988年辞世的莱文斯坦常常用相机，以独特的视角近距离捕捉画面。这种摄影手法一方面使照片显得突兀直接，另一方面又使照片里充斥着日常中琐碎的趣事，流露出对生活的爱意。于是乎，仿佛有一缕缕混合了烟草、廉价香水以及炸鸡味的芳香萦绕于整个展览厅内。
Levinstein is a photographer's photographer. Beyond a core of devotees, his name rings few bells. He earned attention in the 1950s when Edward Steichen, as head of the photography department at the Museum of Modern Art, included him in a few shows alongside such peers as Diane Arbus and Robert Frank. But then he fell off the map.
莱文斯坦的作品为摄影师所欣赏，可他的名号在圈外却不响亮。不过上世纪50十年代，当时的现代艺术博物馆摄影分馆的负责人----爱德华•斯泰肯曾将他的作品与当时的大师级人物----黛安・阿勃丝 、罗伯特.弗兰克的，一同在几场摄影秀中展出，这倒为为莱文斯坦赢得了一点名气，但那之后他很快急流勇退，被人遗忘。
This could be because he stuck to a career in advertising, taking photographs (thousands in all, over several decades) only in his spare time. Or maybe it was because he was an unpretentious loner. He gruffly complained that being a street photographer meant that "you're always on the outside". Yet he seemed unwilling to have it any other way.
个中缘故，也许是源于他对广告事业孜孜不倦的追求，故而只能在业余时间拍摄照片（几十年间共拍摄了数千幅作品）；又或许是他本身就是一位谦虚的宅男----他曾毫不避讳的抱怨过：成为街头摄影师就意味着"不断地外出"。然而，他似乎也没想过另辟蹊径。
The photographs are now part of the Met's permanent collection, thanks to a big recent gift from a collector named Gary Davis. Jeff Rosenheim, the show's curator, hopes this new trove, which is on show until October 17th, will revive Levinstein's place among 20th-century photographers. The man himself may not have cared for such attention, but his work demands it.
现在，多亏了收藏家加里-戴维斯的捐赠，这些照片已成为大都会艺术博物馆的永久藏品。主办人杰夫•罗森海姆则希望这些稀世珍品能借由将于10月17日开始的摄影展，为雷欧•莱文斯坦在20世纪的摄影界找回一席之地----他本人可能对此不屑一顾，可他的作品却实至名归，理应重视。
谢谢yannanchen老师、插一嘴编审的提醒(*^__^*)
这幅应该是第一段里那个像芭蕾舞的照片，但是在沙滩上睡觉的女人我没办法复制�
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