Images of
and the
Built Environment
Ezra Stoller

On November 19, Erica Stoller will take a close look at rarely-seen images of several New York buildings, including models and construction, and will discuss decisions that were part of the image-making process.

Ezra Stoller Photographer considers the scope of work by the dean of American architectural photographers whose iconic images of 20th-century masterpieces are seen as aiding the rise of Modernism in America and elevating architectural photography to an art form.

Erica Stoller is director of Esto, the photographic agency founded by her father. She is the co-author with Nina Rappaport of “Ezra Stoller Photographer“.

“Looking Twice: Tracking Urban Construction through Photographs”

Tuesday, November 19, at 6:30 pm

The Skyscraper Museum, 39 Battery Place, in Battery Park City

While the book talk is free, reservations are requested. RSVP to or  call 212-945-6324.

The gallery opens at 6:00 pm to view the current exhibit SKY HIGH.



CultureNow sponsored a Pecha Kucha with participants in  NY, Boston and LA on August 1.  Each participant showed 10 images in 3 minutes about their chosen topic.

Erica Stoller’s subject was Park Avenue: Seeing What’s Not There.  Sharing Ezra Stoller’s images, and marking the 100th anniversary of Grand Central Terminal, she described a ramble up Park Avenue from Grand Central to 59th Street in the 50′s, looking at some (then new) buildings and considering some that weren’t there yet with construction sites providing unexpected points of view for photography.  Images included: 270 Park Avenue, SOM, Union Carbide (now JP Morgan Chase); 375 Park Avenue, Mies van der Rohe with Philip Johnson, Seagram Building; 390 Park Avenue, SOM, Lever House; 500 Park Avenue, SOM, PepsiCo (then Olivetti, now ABN-Amro) and she looked at new and under-construction buildings including 425 Park by Foster + Partners and 432 Park by Rafael Vinoly.

For more information, have a look at the 2013 Pecha Kucha Program or see the article in the most recent eOculus.

Below is a letter from Kelly Carroll at Landmark West! telling how Ezra Stoller’s photograph was a compelling element of their work in saving Edward Durrell Stone’s PS 199.  A picture is worth a thousand words, indeed.

The image of PS 199 that you graciously allowed LANDMARK WEST! to use for advocacy resulted in nearly 300 signatures in a short period of time from advocates in the form of an e-postcard, sent directly to the Landmarks Preservation Commission’s Chair, Robert Tierney. A picture really is worth a thousand words: the photograph, taken by your father in 1964, captured the elegance of Stone’s design, providing a compelling argument to save the building.

 As you know, PS 199 was a candidate for demolition after the city announced that the school and two others were to be torn down and replaced by privately-developed, high-rise residential towers. 

PS 199 is “safe” for now, as reported by the New York Times in the article “Two Public Schools are Spared the Tear-Down of Development.” That said, its fate as a landmark is not sealed. LANDMARK WEST! has advocated for New York City Landmark designation for PS 199 since 2010, when we added it to our landmark “Wish List.” We continue to pursue this goal, and hope that in the future we can use this photograph to this end.

 Thank you so much on behalf of LANDMARK WEST! and supporters–near and far–of Edward Durell Stone’s PS 199′s preservation.


Last week a group of AIA members got a behind the scenes look at NCAR (National Center for Atmospheric Research), the IM Pei building in the hills west of Boulder, before the kickoff of the AIA convention in Denver.

For those of us who didn’t get to join the tour, Architect has just posted a new Esto Gallery of Ezra Stoller’s 1967 images of the building and site.

The full NCAR Esto Gallery is at Architect Magazine.

And the collection of past galleries is archived here.

Ezra Stoller’s photograph of the Hoffman Auto Showroom appears in a Metropolis Magazine article by Debra Pickrel remembering the recently demolished design.  One of just three Frank Lloyd Wright projects in New York City (the Guggenheim and the Cass House on Staten Island are the others), and the only interior project, the space at 430 Park Avenue, was built in 1955.  The central ramp provided a study for the ramp Wright would later design for the Guggenheim.   When long-time tenant Mercedes vacated the space last December, organizations including the Frank Lloyd Wright Building Conservancy, DOCOMOMO NY/Tri-State and the Historic Districts Council, were actively advocating to save it, but the owner quickly obtained a demolition permit, paving the way for its demise.

In addition to the showroom, Max Hoffman hired Wright to design his own home as well.   An image of that building, which is still standing in Rye, is below.

The story of the Phyllis Lambert and the building of the Seagram Building is detailed in her new book Building Seagram.

In the New York Times, Mark Lamster writes about the book and Lambert’s vision for a building that would “expresses the best of the society in which you live, and at the same time your hopes for the betterment of this society.”

Ezra Stoller’s photograph of the Seagram Building accompanies the article.  The book contains many more Stoller images of the building.



“From whimsical doorways on houses to large-scale entries in monumental structures; from kinetic drawbridges to stationary portals” the newest Esto Gallery at Architect Magazine shares a varied collection of photographs of doors and entries from the Esto collection.

The photographs range from early images by Ezra Stoller, to newer projects by the current Esto photographers Albert Vecerka, David Sundberg, Jeff Goldberg, Anton Grassl, Peter Mauss and Francis Dzikowski.

In the introduction, Deane Madsen writes that

Paul Goldberger said in his acceptance speech for the Vincent Scully Prize that he will never review a building he hasn’t personally visited and explored, calling architecture “the way most people connect to the built environment.” If that’s the case, then doorways are both the literal and metaphorical portals through which people travel to experience those connections, and serve as visitors’ first taste of the space within.

Visit Architect Magazine to see the new Esto Gallery.

There is a new Esto Gallery at Architecture Magazine featuring Libraries.

The gallery contains a range of libraries typologies, from HH Richardson’s Ames Library, to Pelli Clarke Pelli‘s Minneapolis Library (pictured above), to Rem Koolhaas’ Seattle Library, exemplifying the idea that:

Libraries have been many things to many people over the years, and as such, a constantly evolving building type. No one has better captured that then the photographers at Esto, who have been committing these projects to film for more than 50 years. Flip through this small selection of images —these represent some of the best libraries of the modern era.

The photographers in this gallery include Ezra Stoller, Wayne Andrews, Jeff Goldberg and Lara Swimmer.

See the slideshow and read more at Architect Magazine.



NPR has a blog post about Ezra Stoller written by Claire O’Neill.  The piece describes the trajectory of Stoller’s work  from industrial design to modernist architecture to art.  Stoller was vehemently interested in the work of recording architecture, not creating art, but, as Erica Stoller states “While he didn’t strive to be an artist, the photographs are meaningful and beautiful works of art.”

The recent exhibition of Stoller’s photographs at Yossi Milo Gallery has been taken down.

The meaningful and beautiful works of art, though, can be seen in the recent monograph Ezra Stoller Photographer and in a slideshow in the NPR article

Today is the last chance to see Ezra Stoller: Beyond Architecture at Yossi Milo Gallery.

The exhibition closes when the gallery closes this evening at 6pm.

If you haven’t yet seen the show of over 60 photographs by Ezra Stoller, it is worth a visit – or a revisit.

The gallery is at 245 Tenth Avenue
(between 24th & 25th St.)

Click here for a map to the gallery.