Quick Weekend in NYC
This past weekend in Manhattan, Rosalind Solomon shared great news about her archive. It’s going to be in the hands of the Center for Creative Photography, in Tucson. Press release pdf here or as google html. It’s fantastic that her work will be preserved for the ages - for photographers and scholars alike. Plus, Rosalind will have a selection of prints in a September show at Aperture featuring students of Lisette Model.
Saw William Klein’s latest at Greenberg with Matt Weber, who talked me through the work. I’ve only seen Klein’s photos in unaffordable first editions. Matt collects photobooks and admonished me for not writing about Klein, which is fair. Matt’s an excellent guy and a Yankees fan, but I won’t hold that against him. Go Sox!
Eliot, Bill & I caught the last hour of Todd Papageorge’s “Passing Through Eden” at Pace, and as far as classic black and white street photography goes, it was as good as anything I’ve seen. What could be better? There wasn’t a weak print in the bunch. Dedication, perfectionism and ruthless editing, I imagine. It looks like the book is now available, too.
Visited ICP before the opening night for Stephen Shore’s “Biographical Landscape“. I wrote a few long paragraphs about it yesterday; today they’re unsalvageable. By highlighting the aggregate of Shore’s accumulated work, the individual pictures seemed muffled to me, if not mute. Imagining how the big prints from “Uncommon Places” might look by themselves on a wall in a collector’s home was the only way I could connect with the pictures. Your mileage will vary. Surprisingly, I enjoyed the 4×5 contact prints from this show at the Getty more than I did the enlargements (of the same frames!) at ICP, like this one.
Stephen Shore, Second Street, Ashland, Wisconsin, July 9, 1973
It was great to see Amarillo Postcards for the first time (not googleable?) and outtakes from Shore’s journals from American Surfaces. As a concept piece, the journals are bulletproof. They even work as an avant-literary memoir of sorts, sans photographs. I hope they’re published in full some day. With their diaristic mixed-media cataloging, they presage the blog world, for surely. Christian Patterson has a picture of one of the journals on Speak, See, Remember.
Honestly, I thought the pictures upstairs in the “Let Your Motto Be Resistance” exhibit packed more of a punch, historically and emotionally. It’s too bad there’s such a slim selection on ICP’s site. There’s a picture from Martin Luther King’s casket viewing at Spelman that’s still shaking me. Can’t find it - was it by Bob Adelman?
Friday, May 18, 7pm
School of Visual Arts Amphitheater
209 East 23rd Street, 3rd Floor
New York, NY 10010
Admission: $7 (cash only, please)
“The evening includes a screening of New Orleans: The Natural History by New Orleans filmmaker, activist, and creator of Mr. Bill, Walter Williams and an exhibition of images collected from the archive. Oh, and there will be gumbo made by Charles Traub himself!”
Some of you might enjoy Charles Traub’s work which can be found at Gitterman Gallery.
Charles H. Traub, Chicago, 1975
I photographed a bit while I was there. I’ve never walked up Fifth Avenue with the sun at my back. The tourists there and in Times Square made photographing feel like shooting fish in a barrel - it’d probably grow old, but it was a great deal of fun for a visit.
Thanks for the views, conversations, and hospitality, everyone.
For StartersWays of Working, a 10-step introduction to the ins-and-outs of street photography with only nine steps. Or, look at Resources & Discussions.
- “Foreign & Domestic” at Columbus State University, March 12th - April 19th
- New Winogrand Restrospective 2013-2015
- Chuck Patch Discovers Winogrand’s 1964 Worlds’ Fair Women at Boston Museum of Fine Arts
- A JPG Transcript of Jacques Derrida on Photography and Not Being Photographed
- Same Same But Different
- “Street Photography Now” Fails to Cite Sources
- Winogrand/Papageorge MIT Transcription
- Street Photography Now (printer’s proof)
- Reconsidering Winogrand
- Does Haiti’s Crisis Call for a New Photojournalism?