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AMERICANSUBURB X: THEORY: "Diane Arbus, Lee Friedlander & Garry Winogrand at Century's End (2000)"
By A. D. Coleman
The "New Documents" exhibition opened at New York's Museum of Modern Art on February 28, 1967, almost exactly a third of a century ago. Organized by John Szarkowski for the museum's Department of Photography, this show featured almost 100 prints by three relatively unrecognized younger photographers from the east coast of the U.S. — Diane Arbus, Lee Friedlander, and Garry Winogrand — and came as a watershed moment in the evolution of contemporary photography. What exactly did this exhibition signify?
Photographer Ed Kashi's Biography, Photos, Pictures, Wallpapers - National Geographic
Photographer: Ed Kashi
Ed Kashi is a photojournalist dedicated to documenting the social and political issues that define our times. A sensitive eye and an intimate relationship to his subjects have become the signatures of his award-winning work, and his complex imagery has been recognized for its compelling rendering of the human condition.
Photo: Photographer Ed Kashi
Photograph by Heather Hiett
Born in New York City in 1957, Kashi graduated from Syracuse University in 1979 with a degree in photojournalism and has since photographed in more than 60 countries. His images have appeared in National Geographic, the New York Times Magazine, Time, MediaStorm, GEO, Newsweek, and many other domestic and international publications.
News Photos - News Pictures - Photo Essays - Interactive Graphics - TIME.com
Time magazine photo essays good resource for stories
AMERICANSUBURB X: THEORY: "The Passion of Walker Evans"
"The Passion of Walker Evans"
By: Daniel Mark Epstein, New Criterion, March 1, 2000
America's infatuation with photography has thrived upon its easy accessibility. By 1903, the year Walker Evans was born, George Eastman had made the roll-film camera so cheap that soon no family reunion or Sunday picnic need ever lack a "photo artist" to immortalize it. Amateur camera societies and photo exhibitions sprang up in cities and towns from coast to coast. And while professionals like Alfred Stieglitz fought for "the serious recognition of photography as an additional medium of pictorial expression," arguing that the photographer's gift, like the painter's, was privileged vision, the larger public remained quite content with the belief that one person's photo was pretty much as good as another's.
AMERICANSUBURB X: INTERVIEW: "Interview with Bruce Davidson (2006)"
Interview with Bruce Davidson, The Kojo Nnamdi Show (WAMU/Chicago), November 2006
Q: You’re on the streets of Chicago, wandering into Pentecostal churches, how did that initial roaming around, years ago, play out later in life?
BD: I think that I was a born loner. My mother was a single parent, working in a torpedo factory in the Midwest, and I didn’t like school. I felt very isolated. And so I could do both my reading and my writing at the same time, with a camera.
Q: And that is what became the trajectory for the rest of your life. I want to go to 1961, because even as I look at the book “Time of Change”, I think it was before you ever rode with the Freedom Riders that you got a job to shoot fashion models. And you got caught-up in that - it was quite glamorous. But at the time, your heart wasn’t really in it, was it.
BD: In 1959, I photographed a Brooklyn gang for a year. And when that was published, Alex Lieberman at Vogue asked me if I’d like to do fashion. He’d been told by Cartier-Bresson that I could do fashion because I could do gangs - it doesn’t make a difference. So I began to do fashion to support other things I wanted to do. But my heart wasn’t in it. The models were too tall and too sophisticated for me, and I’m a sloppy dresser.
Leica Camera AG - Movie "Anthony Suau - Visual Nomad."
Movie
World Photo Press Award Winner 2008
05/06/2009
Filmed only a week before leaving for Amsterdam to receive the 2008 World Photo Press Award, Leica joined photojournalist Anthony Suau as he used his camera on assignment in Spanish Harlem to document the Feed the Children Drive in his ongoing coverage and interest of the economic crisis. As he traveled to Wall Street to discuss this major achievement in photojournalism, Leica had the opportunity to hear about his recent travels, how he captured the award winning photo and the other images in the series on the economic and foreclosure crisis in the U.S.
Anthony Suau - Beyond The Fall
tony suau's project on eastern europe
Magnum Blog / Studio Visit at Alec Soth's - the photo blog of Magnum Photos
Mr. Jackanory (Andrew Hetherington) recently visited Alec Soth's studio in Saint Paul, Minnesota to film the fourth episode of his "inside the photographers_studio" series. Originally posted on Whats the Jackanory.
AMERICANSUBURB X: THEORY: "Dorothea Lange: The Photographer As Agricultural Sociologist"
Dorothea Lange: The Photographer As Agricultural Sociologist
By Linda Gordon
To a startling degree, popular understanding of the Great Depression of the 1930s derives from visual images, and among them, Dorothea Lange’s are the most influential. Although many do not know her name, her photographs live in the subconscious of virtually anyone in the United States who has any concept of that economic disaster. Her pictures exerted great force in their own time, helping shape 1930s and 1940s Popular Front representational and artistic sensibility, because the Farm Security Administration (FSA), her employer, distributed the photographs aggressively through the mass media. If you watch the film The Grapes of Wrath with a collection of her photographs next to you, you will see the influence.1 Lange’s commitment to making her photography speak to matters of injustice was hardly unique—thousands of artists, writers, dancers, and actors were trying to connect with the vibrant grass-roots social movements of the time. They formed a cultural wing of the Popular Front, a politics of liberal-Left unity in support of the New Deal.
AMERICANSUBURB X: INTERVIEW - "An Interview with Edward Hopper, June 17, 1959"
Edward Hopper interview, 1959 June 17, Archives of American Art, Smithsonian Institution.
Interview with Edward Hopper
Conducted by John Morse
June 17, 1959
The following oral history transcript is the result of a tape-recorded interview with Edward Hopper on June 17, 1959. The interview was conducted by John Morse for the Archives of American Art, Smithsonian Institution.
Rare video of Ansel Adams explaining "visualization" in photography - lens culture photography weblog
Rare video of Ansel Adams explaining "visualization" in photography
A Photo Editor - Eggleston Video
Eggleston talks about his father.
“He didn’t mean for any of his pictures to make any kind of statement. They just are what they are and how he’d like them to look I guess.” — Winston Eggleston
A Photo Editor - Stephen Shore Video
What I guess goes through my mind when I’m taking a picture is I’m thinking wordlessly about how all these elements relate to each other and I’m thinking again wordlessly about finding a balance that I look for a point that seems central to the picture and when I find that point that tells me where to stand and where exactly to aim the camera.
– Stephen Shore
'Americans': The Book That Changed Photography : NPR
There are few single works of art that have changed the direction of their medium. In 1959, one book dramatically altered how photographers looked through their viewfinders and the way Americans saw themselves.
The Americans was the work of Swiss-born photographer Robert Frank, and the National Gallery of Art is celebrating the 50th anniversary of the book's American debut with an exhibition. Curator Sarah Greenough says The Americans was actually reviled when it was first published in the United States.
"Popular Photography asked a number of writers to critique the book and almost all of them were very negative," Greenough says. "It was described as a sad poem by a very sick person."
A Cross-Country Road Trip Back In Time : NPR
In the summer of 1973, photographer Stephen Shore set out on that quintessential American adventure — the cross-country road trip. Starting in New York City, he made a long loop around the nation, going through Michigan, North Dakota and Idaho, off to the West Coast, and then followed a southern route all the way back to New York.
During his month-long trip, he kept extensive records, noting where he stayed, what he ate and what television programs he watched. He collected postcards of the places he visited, kept all of his receipts and, not unexpectedly, took hundreds of pictures. Now, 35 years later, his entire journal has been reproduced and published in a book fittingly titled A Road Trip Journal.
AMERICANSUBURB X: THEORY - "Walker Evans and American Life"
THEORY - "Walker Evans and American Life"
Scavenging the Landscape: Walker Evans and American life
Afterimage, Jan-Feb, 1996 by Melissa Rachleff
The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as "progressive," came unhinged. By 1933, four years after the stock market crash, one quarter of the work force was unemployed.(1) Into this dilemma came a multitude of photographic projects, the most famous of which were sponsored by the federal government in the form of agencies that provided relief to farmers, the unemployed and others. The most completely realized project was the documentation of conditions faced by displaced farmers, recorded by the Historic Section of the Resettlement Administration (RA), later the Farm Security Administration (FSA). The socially-oriented photographic book made its appearance, as did the photographic magazine, best exemplified by Life in 1936. Many of the best known American photographers came to prominence during the Depression, including Berenice Abbott, Dorothea Lange, Gordon Parks and Margaret Bourke-White. Of all the photographers from that era, one represented the quintessential photographic style of the Depression while remaining an elusive figure in photographic history: Walker Evans (1903-1975).
AMERICANSUBURB X: THEORY - "William Eggleston: The Tender-Cruel Camera"
William Eggleston: The Tender-Cruel Camera
by Thomas Weski
'I don't particularly like what's around me.'
I said that could be a good reason to take pictures.
He said: 'You know, that's not a bad idea.'
Around the middle of the sixties, in the middle of the night, William Eggleston was standing in one of the first industrial photofinishing laboraties, watching hundreds of color photos being churned out of the developing machines on endless reels of paper. Countless such visits were to sharpen Eggleston's awareness of the world of images and its amateurish, unpretentious treatment by the masses of people who had their color snaps developed and printed in this laboratory overnight. For Eggleston, this confrontation with visual mediocrity was an altogether exciting and unforgettable experience and was to become an important basis for his later work.
AMERICANSUBURB X: INTERVIEW - "Interview: Bill Owens: Photographing the Suburban Soul"
Bill Owens: Photographing the Suburban Soul
Interview by Robert Hirsch
Bill Owens’s Suburbia (1972) is a quintessential photographic study of suburban California life and of its rituals. Owens followed with Our Kind of People (1975), which examined political, religious, scholastic, and sports groups and their practices. Then he published Working: I Do It for Money (1977) that looked at people who work from nine to five. In 1976, Owens received a Guggenheim Fellowship and, afterwards, two National Endowment for the Arts awards. Between 1978 to the 1982 he was a freelance photographer and did work for magazines including Life and Newsweek. In 1982 Owens started Buffalo Bill’s Brewery and published American Brewer Magazine (1984 - 2001). In 2004 Owens added to his visual anthropology cycle of the American middle class with the publication of Leisure: Americans at Play. Currently, Owens is making mini digital movies about America society. This piece is the result of conversations and emails between Owens and the author from December 2004 through March 2005.
AMERICANSUBURB X: THEORY - "The Indecisive Moment: Frank, Klein, and 'Stream-Of-Consciousness’ Photography"
THEORY - "The Indecisive Moment: Frank, Klein, and 'Stream-Of-Consciousness’ Photography"
THE INDECISIVE MOMENT: FRANK, KLEIN, AND ‘STREAM-OF-CONSIOUSNESS’ PHOTOGRAPHY
By Gerry Badger
"Frank … and Klein brought to the decade a feeling for its woes which, in retrospect, synthesizes it for us. There hovers in their work an oppressive sense of the odds against which people struggled, the dismal mood and chance of defeat that lowered the emotional horizon. This was all the more striking because of the general affluence of the period, underway shortly before the start of Frank’s and Klein’s major effort, in the great boom of 1955. These transplanted photographers found live and visual metaphors for the bleakness of this Cold War moment, and the deadness of the things in it. For those who remember the era, these photographic evocations of it have the keenest resonance; for those who came later, The Americans and New York offer a wondrous guide."
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