Gordon Parks was first described to me as a renaissance man for his enduring and unfailing talent behind a lens. I think in those terms adding to this moniker Renaissance Alien would not be incorrect. There are certain people in this world in which there is no other possible recourse but to name […]
“Arbus reveals the powerful ability of photography to lie, but also it is a testimony of how the lie is not mere betrayal, but a far-reaching human necessity to escape factual reality, the human urge to create and believe in stories, to draw mythical worlds and the inter-subjective life’s alternative narrative.” Imaginary lives, compulsive […]
A Young Man in Curlers at Home on West 20th Street (N.Y.C. 1966) Arbus uses a strong flash to create a high-contrast photograph in “A Young Man in Curlers at Home on West 20th Street,” which is representative of the strong, conflicting ideologies of Americans in the 1960s. The man’s face is stark white compared […]
Tthe more cultures and countries you get exposed to, the more you see that people are alike. We are all the same.” Marc Riboud
“I mean there was that twenty-minute experience of thinking, well, all my life has been wasted but this is marvellous…” – Franz Kline
“I was 28-years-old when I took my first photo, and it felt good.”
The Montgomery County Alabama Sheriff’s Office discovered arrest logs and photographs from the time of the Montgomery Bus Boycott (1955-56) and the Freedom Rides (1961).
There are almost no humans in Wender’s photos. I almost forget there’s a human behind the camera in a way that would never happen with other road trip photographers.
The photographer once stated dryly that the centripetal composition of all of his pictures was based on the Confederate Flag.
Dutch photographer and filmmaker Ed van der Elsken relocated to Paris in 1950. There he found a bohemian group and began closely following and photographing their everyday movements, intertwining fiction and reality in a new genre of photography book. The book focuses on the Left Bank of Paris at the time when the area was […]
“There is a sense in which this kind of photography involves taking something from people without giving them something in return.”
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.