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‘Les Flashs d’Anne’: friendship, fire and photographs
‘Les Flashs d’Anne’: friendship, fire and photographs
On Dec. 11, at 6:30 p.m., at the White Hart Inn in Salisbury, Day and Weitzman will share their memories in a conversation moderated by noted designer Matthew Patrick Smyth. The event is organized by Oblong Books and the Scoville Library.
Fresh home from her exhibition and book signing in Paris, Day sat in her Salisbury aerie high above the distant hills, her daughter’s black cat on her lap. She told the story of “Les Flashs d’Anne,” and the kismet that spurred its evolution.
In 2024, afterlearning that Day had worked with Guibert in New York and Paris, Weitzman — the author of numerous books about Guibert —saw her salvaged images, sought her out and announced, “We must do a book together.”
Weitzman writes in the book’s prologue, “This book is the dreamlike, uncanny result of that serendipitous encounter with a remarkable woman.”
Cover of “Les Flashs d’Anne”Jennifer Almquist
During the 1980s, Day was a working photographer living on Fifth Avenue. A friend, the editor of Le Monde, asked whether Guibert, on his maiden voyage to New York, could stay with her. “I remember it was a cold night when Hervé showed up at my door,” she said.“His flight had just gotten in from Paris and he had this big box of Guerlain perfume. It was wrapped in beautiful pink paper. Within four minutes, we were friends.”
Thus began a whirlwind collaboration that took them from Manhattan, where they interviewed André Kertész, to Paris where they dined with Henri Cartier-Bresson and Duane Michals, and on to interviews with Isabelle Huppert, Gina Lollobrigida, designer Madeleine Castaing, Orson Welles and other luminaries of that time.
Day never saw Guibert after 1983. “Hervé got AIDS in the late ’80s and was quite militant. He now has a following of young people,” Day saidwistfully. During his final days, Guibert wrote five books based on his existential journey.
Orson Welles, top, and Hervé Guibert and André Kertész by Anne DayJennifer Almquist
Day recalled the devastating house fire in which her family tragically lost their friend Maria Paz Reyes and their dog. Day survived by jumping from the second story. A lifetime of images, negatives and slides were lost or damaged. “To lose pictures is like losing friends. Everything was piled into metal file cabinets in my studio. All my negatives and slides were packed in tight. The fire started at the farthest point from there as possible. It was the only thing that wasn’t destroyed— every other single thing was gone. Nothing left. It was raining, so my friend Christopher covered everything with a tarp. The fabulous part of this story is how much help I had from my town, which gave me the empty firehouse to lay out everything to dry. Friends came from near and far to help. Some days I had ten volunteers, and it went on for a month, which gave me something to move forward with. It was so tragic and awful.”
Self-portrait, New York City, 1981by Anne DayJennifer Almquist
A veteran photojournalist, portrait, wedding, and architectural photographer, Day created images for five books featuring the architecture of the Library of Congress, the U.S. Capitol, and the New York Public Library. She covered events in Cuba, Haiti and South Africa, where she took an iconic image of Nelson Mandela emerging from his prison cell. Her commissioned images of four Presidential Inaugurations are featured in the Smithsonian. Her work has appeared in Newsweek, Time, The New York Times, The Washington Post, Fortune, Paris Match and Vogue. She was the editor of Compass at the Lakeville Journal and The Millerton News.
Currently, she enjoys shooting digital photographs of nature. “I am interested in migration, large groups of birds and insects. I’ve been to New Mexico to photograph monarchs, Nebraska to photograph Sandhill cranes, and Ireland to photograph a murmuration of starlings.”
Day summed up her life: “Things just happened to me.”
Tickets to the event at The White Hart Inn on Dec. 11 are available at oblongbooks.com
Director Yael Melamede and her mother Ada Karmi Melamade in ‘Ada: My Mother the Architect.’
Provided
The buildings are the easy part: Ada’s creations are unequivocally beautiful, and her daughter is up to the challenge of capturing their essence on film. Using a combination of unique perspective, time-lapse sequences and archival material, we’re treated to a symphony of light.
Provided
“I think that with one beam of light that falls right, it can change everything,” Melamade says, and we see her buildings — Jerusalem’s Supreme Court building and the Ben Gurion Airport among them —bloom and glow in some of the most breathtaking sequences.
But the film’s heart lies in the sometimes strained relationship between mother and daughter. “How [did] you love me for so many years?” Ada asks her daughter during one interview. “I wasn’t with you.” It’s a cutting message that has special resonance during the holiday season: Where are the lines between work and life, and how do we know when they need to be redrawn?
“Ada: My Mother the Architect” will screen at the Moviehouse in Millerton on Saturday, Dec. 6 at 7 p.m. A Q&A with director Yael Melamede will follow the film. Tickets at themoviehouse.net.
Graham Corrigan is a writer and musician from Philadelphia currently living in Lakeville.
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