"As I became interested in photography in the realm of nature, I began to appreciate the complexity of the relationships that drew my attention," wrote Eliot Porter. Complexity is a good foundationalword for this artist, whose work synthesized many sources and quietly broke many rules, and whose greatest influence—an influence yet to be measured—was felt outside the art world.
The photographs here are a small selection from a unique troÞve of approximately 300,000 images docu menting avant-garde art performances of the 1960s, '70s, and '80s. This archive represents the lifework of Peter Moore (1932-1993), who, captivated by what he regarded as seminal historic events, was determined to preserve as complete a record as possible of their ephemeral power, wit, and beauty.
"Street Gang Exports: The Road from Los Angeles to Latin America" is a series of stark, yet intimate, photographs from the lives of young Salvadoran street-gang members. These images may seem, at first, far removed from life in the United States.
A Visit to the United States Holocaust Memorial Museum
It is a clear April morning, and I am headed to the United States Holocaust Memorial Museum in Washington, D.C. I've been advised at the hotel to get there early: "It's the most popular thing in town." Indeed, throngs of people can be seen lined up before the museum as I approach.
If, to my hands, from its havocs and bounties, the Sea might appoint me a ferment, a portion, a fruit, I would speak for that concord of distance, perspectives of steel, evenings and airs of alerted extension— your power, like a language of whiteness, 0 Ocean, the spoilure and rending of columns, into innocent essence brought low.
Photography often straddles a very fine line between that which stills and that which kills. In other words, the difference between evincing and then transcending a moment, or “capturing” the subject— reducing it to its present condition, as if it did not exist in some elemental continuum with a past and a future as well.
The Wind Will Carry Us, the latest film by acclaimed Iranian director Abbas Kiarostami to be released in the U.S., leads off with a journey up a winding road. A documentary film crew from Tehran has come to a remote hilltop village in Kurdistan to record the elaborate mourning ritual that will follow the death of a village elder.
Novelist, critic, and historian Edmund Wilson was also a translator confident enough to quarrel with Vladimir Nabokov about points of Russian grammar. But decades earlier, when Wilson stood in the presence of the dogmatic Alfred Stieglitz, he was content to be still.
"Committed to the Image" is an exhibition of extraordinary scope that showcases the contributions of contemporary black photographers. With nearly two hundred works by ninety-four artists, it is a massive undertaking, sprawling through the fourth floor of the Brooklyn Museum of Art.
Lyle Lovett lounges by the open door, his head turned so that all you see is that sharp boulder of a chin, a substantial slice of his not unsubstantial nose, and the guitar pressed against a black-and-white checkered sportscoat. There is no mistaking Lyle.
The Destruction of Penn Station: Photographs by Peter Moore
During the years of the destruction [of the original Penn Station], from 1963 to 1966, Peter made over 30 photographic forays to the site. The building’s skin peeled away like one of Richard Serra’s process-art works that Peter later was commissioned to photograph.
Geoffrey Batchen Each Wild Idea: Writing, Photography, History
By dominating the market in electronic reproductions, [Bill] Gates has also acquired a measure of control over what many have naively thought to be a public resource: history. Remember that image of Truman holding up the premature issue of the Chicago Daily Tribune declaring his defeat by Dewey?
Between the "ideal city" of Piero della Francesca's and Campanella's "City of the Sun" and the "virtual city" foreshadowed by Paul Virilio lie the real metropolises of Keizo Kitajima, Gabriele Basilico, Boris Mikhailov and Raghubir Singh.
REBECCA S. COHEN is a free-lance arts writer living in Austin, Texas. She is currently working on a guidebook to Texas art museums for the University of Texas Press. CHERYL FINLEY writes about photography and African-American art. She is completing her Ph.D. in History of Art and African-American Studies at Yale University.
Miguel Rio Branco, Georges Braque, Henri Cartier-Bresson, Domenica Bucalo, Robert Capa, Jack Carnell, William Claxton, Renée Cox, Bruce Davidson, Donna DeCesare, Arthur Dove, Elliott Erwitt, Barbara Ess, C. W. Griffin, Zhuang Huang, Abbas Kiarostami, Rephael Lejbowicz, Mary Ellen Mark, Peter Moore, Mariko Mori, Eliot Porter, Matthieu Ricard, Mark Seliger, Sandy Skoglund, Frank Stewart, Alfred Stieglitz, Paul Strand, Bernhard Walter, Nick Waplington
CHICAGO, IL The Art Institute of Chicago Edward Weston: The Last Years in Carmel through September 16, 2001 ITHACA, NY Herbert F. Johnson Museum, Cornell University No Ordinary Land October 27, 2001January 2, 2002 JACKSON HOLE, MT National Wildlife Museum Charles Lindsay: Upstream September 28-December 31, 2001