On April 12, 1945, when Kubrick was 17 years old, he took a historical picture that helped him become a regular photographer for Look magazine: a newsstand with a press full of headlines telling about the death of President Roosevelt. It was an absolute hit in the concept of the magazine, published in New York for more than three decades, until 1971. The magazine, saturated with photo reports and almost without text, was the main competitor to Life, only demonstrated American life without retouching and embellishment. After working in the publication for five years, Kubrick managed to capture the seething post-war life of both bohemians and ordinary inhabitants of the cultural capital of the United States. He took more than ten thousand shots, many of which can be put on a par with the works of Robert Frank or Diana Arbus.
Timur Novikov, Vladislav Mamyshev-Monroe, Olga Tobreluts at the exhibition "New Academy"
On instructions from Look, Kubrick took a series of photographs. Among them: "Etudes in the subway", shot secretly with the help of a starting device hidden in a pocket; the dramatic "The Story of a Little Shoe Shine" and "An Evening at Copacabana" about the backstage life of dancers; "Hippodrome" Aqueduct "" about one of the most beloved sports activities of American bohemia - horse racing. Working on a series about boxer Rocky Graziano, Kubrick spent the whole day with the athlete and photographed his fight frame-by-frame. The work is represented by stripes of negatives projected onto the wall. Probably, it was from this project that the first short documentary film by Stanley Kubrick's “Clash Day” of 1951 came out. Considering all these pictures, you can see hints of a lot of frames from future films. The director’s ingenious hand was already guessed here, as well as the mastery of lighting, which he demonstrated in full force in Barry Lyndon, shot entirely without artificial lighting.
On "Red October" Yannis Kunellis shows his installation
Moscow hosts the exhibition "Ten days before"
Rainer Krone, curator of the exhibition:“Stanley Kubrick after 1950, when he stopped working with Look magazine, never took pictures again. From his early shots, we can draw on many topics that were raised and developed in the future director's career. The topic of violence was already very interested in Kubrick. I seriously studied photographs and I can say with confidence that almost every shot has an echo in his films, some production scenes have been transferred to the wide screen, and Kubrick stopped working with photography, as it seemed too flat ie their thoughts, feelings and emotions through the camera lens. In the cinema in this respect a much wider range of effects on the public.
Using photography, studying any life situation, Kubrick even then touched on the theme of insanity and violence, which he later brilliantly transferred to the screen in a rethought form. Almost all aspects of human nature that interest the director — loneliness, aggression, misanthropy, and pessimism — have already been worked out in these photographs. These shots are the key to a broader and deeper understanding of Stanley Kubrick’s cinematic work. I am very proud of the fact that I found these negatives. Kubrick did not know where they were, everyone thought they were irretrievably lost. When I found them in 1998, I immediately called him and he was very happy. And I am happy that Moscow will now see them. "