 …f this dichotomy is the increased need of the city to assert its power in the defense of property. Indeed, Soja tells us that one symbol of postmodern urban development is the carceralization of city life, an observation that Mike Davis echoes in his essay, “Fortress Los Angeles: The Militarization of Public Space.” As resources become less equally distributed, systems of power are called to service in order to safeguard the privileges of the sta… MARK RICE: “Through the Lens of the City: NEA Photography Surveys of the 1970s” (2005)  …unding issues, it is a testament to them that in the mid-70s the program was producing well known photo graduates like David Woo (two-time Pulitzer Prize nominee), Rob Kendrick, Larry C Price (two time Pulitzer Prize winner), Mike A. Murphy, Tomas Pantin, Watt Casey, Ave Bonar, Frank Tilley and others who made a living with their cameras. I dare say that out of the 15 or so that began the curriculum when I did, most are still lurking somewhere in… GARRY WINOGRAND: “Class Time with Garry Winogrand” (1974 – 1976)  …ually disguised myself as a mercenary with the aid of a mercenary, and got there, and shortly after I took that photograph, I was arrested by the gendarmerie and I was in quite a lot of peril myself. And then, this man called Mike Hoare, intervened and… JT: Colonel Mad Mike Hoare, leader of the mercenaries. DM: Well, he was… He wasn’t totally mad, but he liked that dashing, kind of pimpernel, kind of… name. But they weren&… INTERVIEW: “John Tusa Interviews Don McCullin”  …ome more, isn’t it grand? And then one day all of your plans mean nothing and fate and the mystery come together to give you magic and so much, much more than just something. They give you the World in a Picture. Paul Schiek, Mike Brodie and Fate met up one glorious day. They formed a team and together and the three of them made something wonderful. In the form of a little instant square that comes out of a little Mystery Box, the magic arrived! … PAUL SCHIEK: “Untitled (Brodie)” (2009)  … but, on taking a closer look (as these images always demand), you can see shoes from both the fall and spring collections, a simultaneity never encountered in a Prada store. Despite the fact that fashion in general (and this label in particular) is all about currency and ephemer ality, Gursky creates from it something so paradoxically solid that the image compresses “fashion” to become its emblem. Shoes aren’t the only seemingl… ANDREAS GURSKY: “The Big Picture” (2001)  …n a vernacular culture, the architecture and details of a landscape that idiosyncratically described the U.S. This became the central theme of Evans’s photography as supported by both Keller and Rathbone, who dispel the labeling of Evans as a “socially concerned” photographer. Whatever Evans’s personal beliefs were about the social conditions brought on by the Depression, he did not use photography as a crusading practice…. WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996) …tists and the historical effects of their work are rarely synonymous. For example, artists who have benefited from the renewed critical and curatorial interest in Conceptual Art in the last decade have themselves resisted the label “conceptual.”(2) This is understandable – no practicing artist wants to be pigeon-holed as an example of an historical movement. Yet the conceptual designation has been crucial to the historical under… “The Photographic Idea: Reconsidering Conceptual Photography” (1999)  … Friedlander, Garry Winogrand, and Diane Arbus was introduced together in an exhibition at the Museum of Modern Art, New York, entitled New Documents, setting the standard for a new notion about the ‘documentary.’ In his wall label for that exhibit John Szaskowski wrote, ‘In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it.’ 18…. LEE FRIEDLANDER: “Out of the Cool” (1991)  …most responsive description we have of the spirit of Frank’s pictures. 4) Eugenia Parry Janis and Wendy MacNeil, eds., Photography within the Humanities (Danbury, N.H., Addison House, 1977), p.56. 5) Ibid., p. 56. 6) The wall label for his part of this exhibition was written by Evans himself: “Valid photography, like humor, seems to be too serious a matter to talk about seriously. If, in a note, it can’t be defined weightily, what it is not can b… WALKER EVANS & ROBERT FRANK: “Walker Evans and Robert Frank – An Essay on Influence by Tod Papageorge” (1981)  … works are ‘portraits’ of spaces, but really you could just as easily turn that around: several of the portraits in my earlier work were to a certain extent already images of ‘spaces’, as I now see them. At the same time, the label that was attached to my photos very early on is proving stubborn. The same clichés keep on turning up in article after article. Admittedly, I still don’t make optimistic, colourful pictures, but I still believe I’m doi… INTERVIEW: “Conversation with Dirk Braeckman” (1998)  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,… DIANE ARBUS: “Diane Arbus’ Noah’s Ark of Humanity” (2004) |
