Sent industry-wide “ Daily Email Updates” to help recyclers navigate the crisis.Became the watch dog of all COVID legislation.Ensured that Automotive Recyclers were an “ Essential Business” to continue operating through the pandemic.Established the Automotive Recyclers COVID Relief Fund, with assistance of amazing Industry Partners, with over $46,000 distributed to auto recyclers in need.I once waited an hour and a half for a cat-just for one cat to pass by. “I wander around and see that a composition is being formed,” he said of his process. Patient and precise, Güler liked to linger in the city’s Beyoğlu district, near his studio, waiting for daily life to assume the dimensions of a masterpiece. His portraits revealed the drama and comedy of the everyday, exhuming unsentimental levity from the melancholy, or hüzun, that Pamuk attributed to modern Istanbul. “Forget nationalism and whatever else.”) As the first Near East correspondent for Time-Life magazine, he endowed the people of Turkey with a dignity that the American media tends to deny those from the region. His greatest pride was perhaps the multiculturalism of his family’s neighborhood in Taksim Square. “When the last brilliant remnants of the imperial city-the banks, inns, and government buildings of Ottoman westernizers-were collapsing all around him, he caught the poetry of the ruins,” Pamuk wrote of his friend, whose work has appeared in New York, at the Museum of Modern Art, and in Paris, at the National Library of France.īorn in 1928, to Christian Armenians living in Turkey, Güler began his career at the Yeni İstanbul newspaper, capturing photographs of his cosmopolitan home town. The Nobel laureate Orhan Pamuk, Güler’s frequent collaborator, included the photographer’s images in his memoir, “ Istanbul: Memories and the City,” to conjure a picture of a Turkish childhood that words alone could not convey. Throughout the twentieth century, Güler’s œuvre interpreted Istanbul for a Western audience without ever exploiting its residents. Horses pull carts down cobblestone streets, and skiffs crowd the waters of the Golden Horn, a bustling harbor since Byzantine times. In his most famous shots, black-and-white cityscapes from the nineteen-fifties and sixties, couples rush through back alleys flanked by wooden homes.
THE EYES OF ARA PHOTOGRAPHS ARCHIVE
His poignant, majestic archive preserves a vision of Turkey that began to vanish early in his lifetime. Güler, who lent his affectionate nickname to that documentary’s title, died last week, at the age of ninety.
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