Henryk was a former employee of the ACME and UPI News Service Office located in Chicago Tribune Towers. Henryk covered many events in Chicago and beyond during his days as an ace photographer for the news service.
Lee Balterman (American, 1920- ) was born at Augustana Hospital in Chicago. After graduating high school in 1938, he went on to take evening classes in drawing and painting at the School of the Art Institute of Chicago – the only formal training of his career. At 86, he continues to live and photograph almost daily in Chicago.
(All rights reserved. Images courtesy and @ Stephen Daiter Gallery)
“Chicago”, Sarah Morris’s tenth film, investigates the psychology, architecture and aesthetic of the American city made all the more resonant in the wake of President Obama’s administration.
When Mies van der Rohe emigrated to American in 1938, with the help of Philip Johnson, and was established as the Head of Architecture at the Illinois Institute of Technology, he not only created an image of America, but the reality of the contemporary American society. Continuing to play with duality, Morris’s “Chicago” is tandem with “Points on a Line”, shifting the lens to a panorama of an American city in transition. In “Chicago”, Morris reveals a new cityscape by tracking its modern architecture, the seemingly dead printed world of publishing headquartered there, as well as its industrial role. A century after the publication of Upton Sinclair’s “The Jungle”, the issues shift from food production to consumption and a struggling printing, publishing and advertising world.
“Chicago” captures the varied layers
John White: Portrait of Black Chicago
The following essay is adapted from a longer article by Bruce I. Bustard, the curator of Portrait of Black Chicago.
The DOCUMERICA Project, 1971-77
If I were to begin describing to you a collection of photographs in the National Archives, taken in the early and mid-1970s by photographers on contract with the Environmental Protection Agency (EPA), you would probably not get too enthusiastic. And if I would then say that these photographs document “subjects of environmental concern,” you would probably assume, as I did, that this collection consists of images of smog, clear-cut timber, traffic congestion, sewerage plants, and oil spills.
You would be in for a pleasant surprise.
You would be surprised because, while the images I am discussing–the records of the EPA`s DOCUMERICA Project–do, in fact, contain scenes of environmental blight, they also include many images that go well beyond any narrow definition of “environmental concern.” In the holdings of DOCUMERICA are