The Jeu de Paume presents the first retrospective in twenty-five years of the great American photographer, Garry Winogrand (1928–1984), who chronicled America in the post-war years. Winogrand is still relatively unknown because he left his work unfinished at the time of his death, but he is unquestionably one of the masters of American street photography, on a par with Walker Evans, Robert Frank, Lee Friedlander and William Klein.
Stephen Wiessner’s series is taken on an island where fog and mist serve as part of the island’s photographic story; it was a previous convict penal establishment. The figures in the mist are both sharp and shaded, leaving us to fill in what might have once been.
Maureen Ruddy Burkhart’s photos take us into what is. Her series captures intimate moments in Kenyan life; the one with a young girl, with hands on her hips, staring back at the camera is particularly enchanting. Burkhart’s lens is the vehicle through which the humanity and joy of a marginalized people is shown. She says, “I hope viewers will see past the poverty without ignoring it.”
Frank Machalowski fools us for a minute, would a rhinoceros really be walking through those woods, a panda around the corner and a kangaroo jumping through what just might be one of Alice in Wonderland’s dreams.
Stuey B documents the “Remarkable Rocks” of Kangaroo Island, Australia, in his series, Still In Motion: “Here was a collection of enormous, eroded, granite boulders, sitting atop a dome of lava, spewed from the earth’s belly about 200 million years ago…it was only wind and rain that had since carved these rocks into what look like monumental Henry Moore sculptures.” Stuey’s photos capture the heaviness of the rocks, but along with their weight, there is an inexplicable lightness to their presence. The storms that have passed through them, the wind that blows over them and the rain that certainly pours over them has made them what they are. Changing. Slowly over time, just like most humans. We take our time with change, generally we don’t like it very much.
In Rupert Vandervell’s series, Man On Earth, he beautifully captures the “dramatic contrast between the
urban background and the small but important presence of human life.” His series portrays isolation in an ever growing population.
John Glynn talks about the iPhone and how the camera, apps and the most recent iPhone technology are able to deliver photos that would have normally not been possible without sophisticated camera equipment and software. The future of photography is not in question. There will always be pictures. They are integral to unraveling the mystery of what it means to be human.
source: Adore Noir
The Portfolio Special Issue is now available for download here!
The Gods Of Times Square was shot over a six year period that witnessed a radical transformation of Times Square. Gone now are the mom and pop stores, squeezed out by a real estate gold rush. Gone too are the colorful characters who made Times Square a “speaker’s corner”. Only the most strident of religious zealots remain to warn of “eternal sin.” The Gods of Times Square thus records a time in New York City history when the place most identified with free speech and the soul of New York, changed from a democratic, interracial, common ground to a corporate controlled soulless theme park. The former versions of Times Square offered it’s congregants a place to air their thoughts and blow off a little steam, to rant about God and race on the one hand or buy sex or porn at the other end of the Times Square spectrum. Now the choices are fewer, the prices are higher, and the “sin” is gone. The fabled “white way” now plays host to the newest of Gods: Mickey, Minnie and Goofy on one corner, Bugs Daffy and Porky on the other… Gods help Times Square! – Richard Sandler
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After three decades turning his lens on New York City, taxi driver turned street photographer Matt Weber has seen it all. More Than the Rainbow not only chronicles the life and times of Weber, but becomes a vibrant conversation about the photographic medium, artistic expression, and New York City. There is no telling how many stories Weber has attempted to capture since he first started taking pictures out of the window of the cab he used to drive. But his quarter century-plus devotion to candidly depicting the lives of his fellow New Yorkers, many of them from the fringes of society, has yielded a remarkable document of a New York that most of us will never experience.
Shot partially in gorgeous 35mm and largely scored to the music of Thelonious Monk, More Than the Rainbow interweaves verité, still photography and revealing interviews with Weber and fellow photographers like Ralph Gibson, Zoe Strauss, and Eric Kroll, as well as designer Todd Oldham to create an evocative documentary that is a poetic celebration of the world’s greatest city and the individuals who walk its streets.
WINNER! Best Documentary- Coney Island Film Festival
A film by Dan Wechsler, 83 minutes, documentary, color, 2014
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