Jessie at 18 Daughter, Model, Muse Jessie Mann on Being Photographed
Visiting Sally Mann and her family in August of last year, I had the chance to spend some time with Jessie—Sally and Larry Mann’s middle child—who was preparing for her freshman year at college. I’ve known Jessie since she was nine years old, and it was wonderful to speak with her at this pivotal point in her life.
Every day of the week, at 4:30 P.M. precisely, twenty or so of the best-informed journalists in the world assemble in a conference room on the fourth floor of 229 West 43rd Street in Manhattan. They meet to determine what the most important news of the day will be in tomorrow's New York Times.
The Internet has radically altered the boundaries between public and private spaces. Thoughts, agendas, and doctrines that were once kept out of sight can now be aired in the open (yet completely anonymously) through this new medium, without fear of implication or reprisal.
"Baton Rouge was clothed in flowers, like a bride—no, much more so; like a greenhouse. For we were in the absolute South now," wrote Mark Twain of the vistas from a riverboat in his 1883 classic Life on the Mississippi. "From Baton Rouge to New Orleans," he continued, "the great sugar-plantations border both sides of the river all the way, and stretch their league-wide levels back to the dim forest of bearded cypress in the rear.
A New York-Based Collective of Visually Impaired Photographers
Mary Walling Blackburn
The photographers whose works are in these pages are all members of Seeing With Photography, a New York-based collective of visually impaired photographers. But, despite the fact that they are blind, or experience severely diminished vision, they are also, inevitably, subsumed by the culture of seeing.
Leon Golub on the relation between painting and photography
David Levi Strauss
DAVID LEVI STRAUSS: You've been an image-scavenger for a long time now, and in beginning I wanted you to talk about how that got started. Was it always directly connected to paintings? LEON GOLUB: It all began kind of "innocently"! My work in the early fifties had been primitivist—totemic and frontal.
We believe photographs. They have a revelatory power that— even in this age of digitalization and image manipulation—we trust. And it is the trust they inspire that, in turn, gives them much of their potency. It is no wonder that a newspaper such as the New York Times has a picture editor assigned solely to its front page.
Sylvia Plachy is a photographer’s photographer: she is able to make a picture of almost anything and in all kinds of ways. And she actually remembers to do so, often and effortlessly. Or so it seems. Her trademark fanny pack is bottomless and holds a whole store full of cameras.
Claire Denis’s Beau Travail could almost have been a silent film, with musical accompaniment. There is a plot—quite a compelling one—but it is borrowed whole (with a twist) from Herman Melville's Billy Budd, and it operates here less as motive force than as an abbreviated latticework for the images to move through and around.
Painting and photography have enjoyed a long, prosperous, and anxiety-ridden relationship. The ins and outs of their most private encounters have been unashamedly reported since the day they met. From such a slew of groundless gossip, mindless cliché, and occasional insight into what might be the actual significance of such an alliance, the exhibition "Ben Shahn’s New York: The Photography of Modern Times" emerges as a powerful and essential statement.
Two weeks before his death, Walter Chappell consulted the ancient oracular text of China, I Ching, and drew the hexagram Kuan ... interpreted, in part: "Contemplation of the divine meaning underlying the workings of the universe gives to the man who is called upon to influence others the means of producing like effects."
REFLECTIONS IN BLACK: A HISTORY OF BLACK PHOTOGRAPHERS 1840 TO THE PRESENT
Negroes can never have impartial portraits at the hands of white artists. It seems to us next to impossible for white men to take likenesses of black men, without most grossly exaggerating their distinctive features.
[At an anti-Vietnam War demonstration in 1967.] The march had not yet begun. Behind us, across the Potomac, thousands of people were coming, while we stood against the cord with perhaps fifty people trying to engage the military police. One of the demonstrators was a black fellow who kept leaning out over the cord and screaming, "Cross the line! Let's cross the line!"
Photography's technical existence as a multiple joins the theoretical possibility that all images taken of the same object could end up being the same image and thus partake of sheer repetition. Together these forms of multiplicity cut deeply against the notion of originality as an aesthetic condition available to photographic practice.
JASON BERRY has received several grants from the Fund for Investigative Journalism for environmental reporting. He has published five books, including Lead Us Not Into Temptation, a history of clergy sex abuse, and Louisiana Faces: Images from a Renaissance, with photographs by Philip Gould (Louisiana State University Press, 2000).
USA AUSTIN, TX Wittliff Gallery of Southwestern & Mexican Photography Boystown: La Zona De Tolerancia March 31-July 31 BOSTON, MA Museum of Fine Arts Art and the Camera: Photographs of F. Holland Day through March 25 CHICAGO, IL Museum of Contemporary Art Gilbert & George, 1999 February 3-May 20