Marty Harmos's Report

Marty Harmos, an editorial contributor of Call 4 Artists, is a retired Psychiatrist living in New York City. He loves art in general but has a profound admiration for photography and photographers; he also has an eye for images, a special insight to see the extraordinary where other people just see the ordinary, and we will publish some of his works in the near future.

To contact Marty Harmos, please use the Contact Form.

July's Report:


Vienna, May 25th 2013. The city presents a cold, gloomy wintery image of steely clouds and constant drizzle. Fittingly, large posters in the streets depict a gory sight. The serene face of a child with purplish tinge and ruby red lips. She is smeared with bright-red blood. The girl has her eyes closed. Is she lying on a morgue’s slab? Is she asleep? Has she grown accustomed to abuse and is expecting the next blow? There is no overt suffering but her stillness suggests sleep or resignation while the color of the skin suggests death. On a second glance, the shock start to wane and a sort of perverse clinical detachment arises in the observer. The child seems to be acting or modeling and the blood seems faked, covering the left side of her face in a broad brush stroke and pooling in her neck and upper torso and soaking her bluish gown: Grand Guignol presented as la belle indifference. The image is unsettling and deeply disturbing at different levels but the artist seems to be using the girl to carry a message of extreme violence exerted on her while her comportment is that of detachment. The overall effect is similar to Mozart’s clockwork music or Brecht’s Entfernung theater: It allows the observer to have little emotional involvement and thus judge the image on its merits.

The posters are a call by the stately Albertina to experience the art of the combative, angry, provocative Austrian-Irish multimedia artist Dietrich Helnwein.


August's Report:


Carl Reiner and Steve Martin approached a critique of how the subjective expression of perception uses the vocabulary of reality, confusing both. In their movie The Man With Two Brains, the pioneer neurosurgeon, Dr. Hfuhruhurr, is driving his car while forlornly telling a journalist about the death of his wife and his undying love for her. On the dashboard a smiling doll is bobbing the head. The journalist points at to the doll and asks “Is that her?” “No,” clarifies Dr. Hfuhruhurr, “that is a representation of her.” Similarly, years earlier Magritte drew a pipe and under it he wrote “Ceci n’es pas une pipe.” He was pointing out to the fact that what you were seeing was not a pipe but a representation of a pipe. Tellingly, he called this painting The Treachery of Images.

September's Report:

GALATEA BECOMES PIGMALION: How Marilyn Monroe manufactured the Myth of Marilyn Monroe

“Marilyn was a photographer’s dream subject with her clothes on, and even more stunning with them off. ‘You're going to make me famous,’ I said. ‘Photographers can be replaced, Larry,’ replied Marilyn.” –Lawrence Schiller, “A Splash of Marilyn,” Vanity Fair, June 2012.