Remembering Elliott Erwitt, 1928 - 2023, from the Hulett Collection

[Asher Kelman]

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Elliott Erwitt and David L. Jones in discussion for the Outside the Frame podcast, 2019​ Sitting here, my heart weighs heavy as I pen this tribute to one of the most remarkable photographers I've ever crossed paths with. I stepped into the world of fine art photography after many of my idols had already passed—Ansel Adams, Henri Cartier-Bresson, André Kertész, Alfred Eisenstaedt, and the list goes on. Elliott stands out among the few I was fortunate enough to build a connection with. Despite an exterior that might have seemed tough, he carried an inherent kindness, intelligence, and gentleness that defined him. When our paths first crossed, I was low man on the totem pole. But Elliott never treated me like just that. When I took the leap to start my own gallery, he didn't hesitate to join forces and let me represent his incredible work. I could rave endlessly about his legacy and the impact his creations will continue to have on artists and audiences for generations to come. But chances are, you've seen his photos—they have a language of their own. My most recent exhibition which ended just a few days ago was titled Elliott Erwitt: The Decisive Moment and was a small slice of images of his that I felt embodied that phrase. I take pride in knowing that Elliott's last exhibition while he was still alive took place in my hometown of Tulsa, Oklahoma at my modest gallery because he took a chance on me and that's just the kind of man he was. In my 43 years on this planet, I've looked up to a handful of people I've never actually known personally. Elliott, though, was the exception to the rule of "never meet your heroes." He was, remains, and will always be one of mine. Until we meet again, dear Elliott. Michael Hulett​

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[Asher Kelman]

 

[Asher Kelman]

Get further details of these pictures and availability here!

 

[Maris Rusis]

Last time I talked to Elliott Erwitt, it must have been twenty years ago, I asked him when he was going to retire from the labour of turning out a new book every two years. He said having been married four times and living in California, a state with community property laws, money was always limited and he had to keep working. I think he was only half kidding. He went on to say that turning out books was no problem because his picture archive was already so vast that book editors were free to mine what they wanted out of it but they would never get to the end. All that photography was fun, Elliott said, but it was also earnest and persistent work; the sort of work that makes you tired.

We touched on his famous Boy Baguette Bicycle picture as an example of candid excellence but Elliott explained that the idea was spontaneous but the execution was not. He had the man ride the bicycle several times up and down the road and made camera exposures on black and white and colour film. The exposures were pre-focussed on that little stone you see on the road next to the bicycle.

The photographic world will miss Elliott Erwitt's wit, wisdom, and humour and I will too.

 

[Asher Kelman]

The photographic world will miss Elliott Erwitt's wit, wisdom, and humour and I will too.

So grateful, Maris, that you have written from your heart about a am I have followed and admired!

I am so impressed that you had the good fortune to meet him.

Just by way of his value to me, I realize that his book, “Sequentially Yours”,

is the top of the pile of art books on my table in the family room!

It’s an intriguing title and it delivers on its promise.

I am privileged to be aware of his work and to enjoy the simple clear ideas he has in seeing the world.

I think his expertise is in observing variations and then imagining and finally delivering in a fresh form what he conjures up.

Conjuringbup might mean repeating a shot or merely waiting for a couple to kiss and he’s already hunted that unique sport from which to frame it.

Asher