I post what interests and inspires me, and I hope to inspire you in the process.
I blog about Photography, Art, Music, Coffee, Craft Beer,Food, & Politics,
Plus a bunch of random nonsense I find entertaining on the web.
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I also run "Take a Photo, Pass it On" as well as several other Tumblr blogs
This June, the exhibit “The Space Between: Redefining Public and Personal in Smartphone Photography” opened at the Center for Photography in Woodstock, New York. The show—which includes the work of Laura El-Tantawy, Henry Jacobson, Chip Litherland, Florence Oliver, Kerry Payne, Mark Peterson, Sofia Verzbolovskis and the collectives Echo/Sight and Tiny Collective—brings together photographers who have found innovative and effective ways to use smartphones in their artistic practice.
Going to church. Playing around the house. Window shopping. These are the types of everyday, seemingly innocuous activities that wound up before the lens of iconic civil rights photographer Gordon Parks. Parks, a self-taught artist, believed in the photographic medium as a weapon of change, capable of awakening people’s hearts and undoing prejudice.
An exhibition of Parks’ rare color photographs, entitled “Gordon Parks: Segregation Story,” will go on view this fall at The High Museum of Art in Atlanta. The photos capture a particularly disturbing moment in American history, captured via the lives of an African American family, the Thorntons, living under Jim Crow segregation in 1950s Alabama.
Those who choose to live outside the norm, especially those who follow a religious leader, captivate the public imagination. Seattle-based photographer Stan Raucher felt this draw when, after a photo workshop in Peru in 2013, he happened to end up traveling down the Amazon River by boat with several members of Los Israelitas, a small, evangelical sect in Peru who live along the riverbank. For his project The New Promised Land, Raucher made two trips to visit the community and plans to return next year. He spoke with me via email about the project, which I saw in Critical Mass 2013.
For her recent series, photographer Emily Stein dives head first, camera in tow, into a wasteland of teenage angst. The mosh pit has been at the center of the heavy metal, punk and rock music scene for decades. While it’s still carried out by people of all ages, this traditional activity is highly popular among young people. Saturday’s Mosh positions the mosh pit as an arena for teens to let go of all the troubles of young life.
Photos have been historically considered as a means to record history. But the proliferation of digital devices and social media have turned photography into a visual language. Photos go viral for a multitude of reasons (e.g. humor), but it’s often stories that effectively communicate a story that resonate with our humanness and humanity. I’ve recently come across two examples where good stories arguably beat out better photos as shown by the viral spread throughout social media. Do you agree?
As a child growing up in Munich toward the end of World War II, Walter Schels was greatly affected by death, having witnessed the casualties of air raids.
“I was afraid of death and coffins my whole life and I avoided seeing any dead bodies, even those of my parents,” he wrote via email.
Later, when he became a photographer, he worked on a series about birth but was constantly reminded “at the end of this birth will always be death.” He also said that the experience evoked a deep interest in people’s faces, which later influenced his passion for portraiture.
Schels and his wife, the journalist Beate Lakotta, have been together for nearly two decades. Since Lakotta is 30 years his junior, the couple were frightened that, statistically at least, Schels would probably die first, and possibly much earlier, than Lakotta. To face that fear, along with his own fear of death, Schels and Lakotta decided to embark on a series roughly eight years into their relationship titled “Life Before Death.”
While most people all over the world live in a community with others around them, Russian photographer Danila Tkachenko captures those that choose to turn their backs on this lifestyle. His compelling series Escape documents people who instead live a solitary existence in the wilderness. They make their homes in the Russian and Ukrainian forest and fashion makeshift dwellings from the land.
Musicians go hard. And while every artist and band puts it all out on stage for the world to see, the Vans Warped Tour in particular often features a lineup of bands whose members truly give it their all, for as long as three months, day after day.
In an effort to document just how exhausting just one of these performances can be, live performance photographer, Brandon Andersen, decided to do something a little different than usual and capture a collection of before-and-after performance images of musicians whose bands were in this year’s Vans Warped Tour lineup.
In 1984, when Susan Rosenberg Jones moved into a one-bedroom New York City apartment in Tribeca, her rent was roughly $700 a month.
Usually, that line is great at cocktail parties, with a mention of either having been fortunate to find a great deal or a melancholic reminder that things have vastly changed. In this case, it’s a bit of both.
Rosenberg Jones is currently living in a two-bedroom apartment in the same building, part of three high-rise towers called Independence Plaza North. Built in the 1970s and intended for luxury rentals, the complex was ushered into the Mitchell-Lama program since few people were willing to live in Tribeca at the time. Mitchell-Lama was created to provide affordable housing for middle-income residents (by today’s guidelines the annual adjusted income limit for a household of two in a non-federally assisted and federally-assisted cooperative development is $85,937.50). As a result, many were artists, writers, teachers, and other working class New Yorkers.