Hannah Pierce-Carlson‘s photo here reminds me of things I used to think about a few years ago when I had a camera on me all the time, everywhere. I’ve been slack on that score (the everywhere part) in the last year, working on praahjex, but in the past month or so I’ve been trying to relearn the old lessons, and feel the thrill again, and I caught a flash of what’s both satisfyingly old and the jolt of the new in Hannah’s picture – a visual nudge in all the good directions.
Aperture’s new Spring catalog is out (pdf), and at first blush, I’m looking forward to seeing Barbara Crane’s Private Views which will be released in conjunction with an exhibition at the Amon Carter Museum in Fort Worth, TX.
“Armed with a Super Speed Graphic camera and Polaroid film, Crane waded in close to the revelers and focused on capturing the details of clothing and hairstyles, but most importantly, gesture. The images are tightly cropped and terrifically alive, viscerally bringing us into the crush of people eating, drinking, and enjoying the crowd dynamic—an incredible inventory of private gestures performed in public spaces.”
Ying Tang is the only female Chinese street photographer I’m aware of, and here’s a quick program from Chinese TV about her work. Ying can be found here and over on the flickr, if you’re into that kind of thing.
If any of you have seen interviews (like this, in other languages, no subtitles needed) with street photographers working around the globe, I’d be pleased to post them; let me know. The goal: to keep the view “wide open”.
Happy New Year to you all. Not sure where 2point8 will be heading in ’09, but I’m looking forward to finding out!
If you’re not in NYC and can’t make it to the Whitney, Eggleston’s “Stranded in Canton” is on youtube. It’s also available via Twin Palms’ edition, with a book.
When I saw it screened a few years ago, it was without voiceover, as a recall. The sequence of the edit seems different, too. Google around, the story behind the film is worthwhile. And for stills taken around the same time, definitely check out Eggleston’s “5×7” also from Twin Palms [review here].
And if you like to hang-on to things that quickly disappear, this tool works well.
Yet another Winogrand video, recently posted (15 views), and this one’s an interview at the New School. The flickr hydra’s digging-up all the good links these days! (And there’s already a transcription, too.) You might enjoy the Joel Meyerowitz or Elliot Erwitt interview as well.
James Jowers, “St. Marks Place, 1968” via George Eastman House. Thanks, Ian.
I can’t wait to see Ballast, and hope I haven’t missed it, like I missed Trouble the Water. The director, Lance Hammer, namechecks Eggleston and Hido on KCRW’s The Treatment, all while sounding like my kind of filmmaker, one who isn’t scared of stillness, silence, or not using the latest digital camera. When was the last time you saw Tarr’s Werckmeister Harmonies, or that weird Affleck/Van Sant experiment Gerry ? (Everyone hates that film but me.)
Some of the best photography I’ve seen in the last three months has been in cinema, specifically Robert Gardner’s “Forest of Bliss“ which is one of the most artfully-filmed verite documentaries I’ve ever seen. Some of the shots in that film are so damn simple and expressive, I keep seeing them when I close my eyes. It’s also the world’s best brochure for a trip to Varanasi, in that it shows how beauty and horror can co-exist all twisted-up like two trees with a shared trunk.
I saw three films from Nathaniel Dorsky, one of which answered this 2-year old 2point8 question about the motion-picture equivalent of street photography. Dorsky’s candid cinema from the streets of San Francisco is a marvel. Seek out his films if you can.
Saul Leiter’s “Early Color” at Jackson Fine Art looks like the DNA for color street photography. It’s solid and deceptively simple, a template for shooting abstractly, while incorporating just enough human detail to ground the scene, and in doing so, make it come startlingly alive. That, and it’s amazing to see the color of NYC slush that’s over 60 years old.
A few years ago I was in a film frenzy; the best cinema being a blissful merge of literature and cinemaphotography. Films as photographic fiction. I couldn’t get enough Malick, Marker, or Gordon Green. The other day I found “Rosy-Fingered Dawn” a documentary on Malick which I never knew existed. I wonder what happened to Aronofsky‘s creative mojo (Robo-what?) — how he could make films as innovative “Pi” and “Requiem for a Dream” with so little since, and why I’ve seen so few films (recently) by young American directors that approach the innovations of each.
I still can’t tell Ellen Barkin and Ellen Burstyn apart.
I’m unsubscribing from a lot of rss feeds these days. Replaced by Twitter.
The shows I had this fall taught me more about art, community, and what it means to engage the world in an upright, responsive (and responsible) way than I’ve learned from photography itself. I’m exaggerating, but still.
After hearing music photographer Danny Clinch talk about how much he relies on his Leica and Tri-x rated at 800, I miss my Canadian-made M4P more than ever. Danny also has a great suitcase full of Neil Young stories.
I don’t recall seeing the work of Sergio Larrain before.
Thanks for your emails about “So Help Me” which came off without a hitch. If you’re eager to get work into a gallery, it might be worthwhile to consider how you can e x t e n d your mission -> how your photographs can be than just “pictures on a wall”. In building So Help Me into an Election Night party, with videos & speeches and everything else (the ballots didn’t really come together after all) it felt great to make a space where people could gather, watch the returns roll in, and generally live through the experience, in real time, and feel the end of this ridiculous electoral calendar, culminating in Barack’s win at 11pm w/ cheers and champagne. I had the chance for a gig at Ebenezer Baptist that night, and although turning down the shoot was tough, I’m glad I was able to experience such an evening with a smaller crowd, in a space we created, on an evening that spiraled into celebrations in the streets.
In thinking about public art that works, Zoe Strauss‘ extra-efforts under that Philly freeway have been on my mind. The mission to get photography in the hands of those who want it most, democratically, regardless of whether or not editioned prints are affordable. (Riding that public art idea into the marketplace is 20×200, of course.) The whole put work in front of everyone, everywhere, whenever possible thing. It flies in the face of “how things are done” and god bless it for that and for so much more.
If you buy airfare to the inauguration months before the election, you might want to book a hotel room before the hotels raise their rates 500% after the country’s favorite candidate mops-up nearly 370 electoral college votes.
There’s more, but there’s always more, whether I’m updating this site or not, so that’s that.
I have a new piece available via Jen Bekman’s incomparable 20×200 as of a few minutes ago. It’s affordable, it’s happening, and it’s a great way to help celebrate a new dawn in America.
If you’re in Atlanta tonight, come on over to Opal Gallery for a real world celebration. More info on sohelpme.us.
Be well everyone, and thank you for your support. I’ll return to creating (non MDM-PR) content soon, I swear.
Friends of mine in Switzerland at mus-mus.org have launched a global photography project on Tuesday, November 4th. Here’s their call for entries. They’re jurying 25 additional photographers/entries:
mus-mus.org invites PHOTOGRAPHERS to participate to the project @600 to take place November 4th, 2008 @600 Internet time.
Many photographers from around the world have been invited to make one picture on the same day at the same moment. All these photographs will be joined and archived on the website mus-mus.org for a unique document of that special day. We have invited many photographers who have agreed to join us and participate to this project.
We would like to add additional visions through an open call process!
We are happy to announced that two special guests, Michael David Murphy and Jason Fulford will be among the participants in the @600 project.
We have reserved places for twenty-five of the participants to be selected through a juried process. Apply now and submit an email request to participate together with a link to your website or no more than 3 jpg files at 800 pixels larger size and 72 dpi. The submission should be directed to email@example.com. If there are places remaining we will accept submissions of @600 photographs for one week after November 4 that have been made for @600 according to the project parameters. Those images and a weblink and\or CV should be submitted as outlined above.
You will find all necessary information on www.mus-mus.org/at600. All photographers who will participate to this experiment will be listed in the mus-mus website.
We sincerely hope that you like this idea and will be part of this experiment @600 ! For any questions, email us firstname.lastname@example.org.
Ed Note: From what I can tell with that “Internet Time Converter”, “@600” in Internet Time on 11/04/08 is between 8:24:00am and 8:25:26am in the Eastern Time Zone.
Just go over to Zoe Strauss’ blog already and look at Philadelphia rejoicing over the Phillies. (In AL news, I still can’t believe that there’s an actual baseball team named the Tampa Bay ‘Rays – call me a traditionalist.)
© Zoe Strauss
I hope to be able to review Zoe’s new book “America” soon, too.
I have two articles in the new issue of (FOTO)8, available on newsstands in the UK today. There’s a review of Matthew Sleeth’s latest Aperture book, “Ten Series / 106 Photographs“; and a long, off-the-page look at a single frame of Tod Papageorge’s from his latest Steidl book “American Sports, 1970: Or How We Spent the War in Vietnam“.
Please click for a pdf.
The camera can’t go anywhere his truck can’t, and trucks drive on streets. This is all kinds of complicated awesomeness. Thank you again, SPARK! for having the foresight to turn your great programming into a podcast. From May, 2006.
Still too busy to blog, with ACP, and w/ finishing the last week of “The Jena Project” while preparing “So Help Me…” for Nov. 1st (with an election-night party @ Opal Gallery on Nov. 4th, y’all!). In a panel discussion this weekend, we talked about objectivity vs. subjectivity in photography, and here’s where I fall on that point:
(Thx ZS for that badge.)
I’m part of a panel discussion this Saturday, Sept. 20th, the year anniversary of the march on Jena, Louisiana. I’ll be speaking with photographer Jim Alexander at Hammonds House Museum in Atlanta, GA, from 2-5pm. This discussion is in conjunction with “The Jena Project“, my exhibition that’s currently on view at Opal Gallery, through Sept. 27th.
I’ll try and upload some pictures of the installation for those of you who are interested, but far away, and there are plans to record the discussion as well, for the same reason. If you’re local, I’ll see you there!