Brancusi used photography to document, record and recall. He took photo graphs in order to display his sculptures outside the studio and to give himself precise control over the reception of his work, in magazines, catalogues and avant-garde publications. He used photography as a sales tool, indirectly by the diffusion of images of his work, but also directly, and as more or less normal pro cedure in the case of John Quinn, the main American collector of his work. On rare occasions it became a part of his working process, a way of evaluating a form, by cutting, editing or inverting photographic prints. He used them for their emotional value as souvenirs of works sold or of people he loved. He recorded houses being demolished, climbing plants in the street, journeys, doc uments, or evenings with friends, just for pleasure.

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Brancusi"s photographs are more than the record of his sculp tures, of effects of light to view them, of transient clusters or even of consciously staged spaces and meanings; they are above all objects, in their own right, the labor of light and of sil ver salts on film, chemical work, alchemical, of transformation, in which his sculpture, its polishing complete, attains another, further consummation.

Preface

Paola Mola

Photographs and Stills

Paola Mola

I. A Likeness

II. The Exhibition

III. Captions and Digressions

Room One

Room Two

Room Three

Room Four

Room Five

Room Six

Room Seven

Room Eight

Catalogue of Photographs

and Sculptures

Marielle Tabart

On Brancusi and Avant-garde

Cinema

Francisca Parrino

Technical Information

Biography

Bibliography

Appendix

Paola Mola