Wednesday, April 16, 2014

Stacy Kranitz at the University of California, Irvine

Stacy Kranitz, whose work in Appalachia we discussed in an earlier blog entry, will have a show of her work from her portfolio As It Was Give(n) to Me, opening at the Gallery of the Contemporary Arts Center of the University of California, Irvine, April 24th, 2014, from 6:00 - 9:00 pm.

The show will be on view from noon until 6:00 pm daily through May 2nd, 2014. 

There will be a formal opening of the show with a reception, to be held on Saturday, April 26th, from 2:00 - 5:00 pm.

Kranitz' work combines stunningly beautiful landscapes, sometimes being wantonly destroyed, with rich and visually complex depictions of the people of the region as they worship, party, work, and rest.

The work combines photographs, maps, archival prints, quotations from its subjects, and other materials into an exceptionally rich depiction and interpretation of the region's life.

You can see  a preview of the show here.

Kranitz has already received significant attention to her work; for a sample, see below.

The Oxford American, The Fantasy of Objectivity 
Bag News Notes,The Rape of Appalachia 
The Oxford American. Eyes on the South: Stacy Kranitz
Thought Catalog, Truth and Consequences in Appalachia
Columbia Journalism Review, On the Job, The Outsider
The Believer, Wouldn’t you want to party with a baby?
Feature Shoot, Renegotiating a Complex History – Stacy Kranitz’s Portrait of Central Appalachia

Kranitz is doing exceptionally strong work, well worthy of our regard.

Appalachian Spring -- 2014

Roger May, fast becoming the premier photographer of West Virginia, has just set up a new project called Looking at Appalachia: 50 Years after the War on Poverty.

May's goal is to document, and assess, the depiction of Appalachia in photographs 9See image above),  or, as he puts it, "to explore the diversity of Appalachia and establish a visual counter point [to images formed by previous photographers' focus on the poorest parts of the region]."

"Drawing from a diverse population of photographers within the region, this new crowdsourced image archive will serve as a reference that is defined by its people as opposed to political legislation."

May's own work made in Appalachia has recently been featured on the Bitter Southerner blog, with the title  "A Love Letter to Appalachia," and you can find it here.

May also took part in a recent online symposium  Portraying Appalachia, sponsored by Oxford American Magazine, as a result of viewer response to Stacy Kranitz' portfolio As it Was Give(n) to Me… (see image below) which appeared in January as an entry in the Oxford American’s weekly online photography feature, Eyes on the South, curated by Jeff Rich.

The Oxford American folks said that "Reader response to [Kranitz' work] was fervent and varied."

The result of all that energy was the Symposium, which included portfolios by Kranitz, May, Rob Amberg, and Kate Fowler, all experienced photographers of Applachia.

Kranitz' work is here  (see image above).

Roger May's contribution is here. see image above).

Kate Fowler contributed a portfolio (see image above) on her work with pentecostal ministers who handle serpents as part of their worship services.

Rob Amberg contributed a portfolio of his work in the small town of Sodom Laurel,NC, here (see image below).

The writer Matthew Newton also contributed an essay, here, illustrated by photographs taken by Zoe Strauss and Ross Mantle.

What is most important in each of these entries are the discussions of their work, and of the role of the photographer in the process of making this work.

This is especially poignant in the case of Kate Fowler's work, since Mack, one of the ministers to whom she had become especially close during the course of her project, died of venom poisoning.

Fowler's discussion of her relationship with the minister who died and her understanding of herself as a photographer are worth quoting at some length:

"I feel implicated in and damaged by this tragedy.

"In many ways, I see photography as a tool for accountability. The camera has been co-opted as a weapon in activism, a tool, also, for radical interaction and reflection, and as a means to bearing witness to events that would otherwise be hidden from the mainstream gaze.

"Although photography often falls short in its depiction of war, death, life, and beauty in many forms, it does grant space for the interplay of personal and public fantasy.

"Cameras enable us photographers to experience the world through our own subjective filters, to project our personal emotions—whether sadness, terror, or joy—onto greater works of art. Also, photography itself is an act. It manipulates and alters space and relationships; it threatens and demands certain things from its subjects."

[A journalist for the Washington Post chose to photograph the dying man in his last hours.]

"As [she] shifted from her role as friend and guest to documenter and witness, the structure of events and potential outcomes became limited by her presence—and the implied presence of a greater audience. 

"Photography has this ability: it can influence events through its suggestion of a subjective viewership. As Mack moved toward death and his family navigated the trauma of the circumstances, they had to simultaneously consider the eyes and thoughts of an unpredictable audience. 

"Did this influence Mack’s reluctance to call an ambulance? If there had been no photographers present, would the lack of public accountability have meant he might have gone to the hospital and lived? I can never know the answers to these questions, but what I can know is that photography has power. 

"For nearly a century, this power has been subverted for the sake of entertainment, a form that has been veiled as “news.”  

"Should we burden photography with the responsibility of being an accurate depiction of reality? Are photography’s limitations a failure on the part of the medium, or simply a projection of the public’s desire to manipulate and interpret scenes from another life? 

"Photographs have a double consciousness; they exist within the moment they were taken and transform within the minds of viewers. 

"Photographs are mirrors; yet their reflections change as new viewers shift into frame. Once we regard these certain truths and begin to see photography as mutable, fluid, and transformative, we can understand that viewers themselves are participants in a photograph’s narrative. 

"Similarly, we can regard the significance of an invisible participant in the development of a photograph, just as Mack and his family did on the day of his death. 

"In the aftermath of this project, my work has become increasingly unstable."

All this work brings to the fore important questions about documentation vs advocacy, truth-telling vs making beautiful or arresting images, not to mention the making of art as a form of commerce vs doing right by one's subjects.

Photography in Appalachia is a great site to make these issues available for our reflection.

It has been in the news a great deal lately. We have been reminded of Appalachia both from commentary on the 50th anniversary of Lyndon Johnson's declaration of a War on Poverty and from news coverage of the recent chemical spill  into West Virginia's Elk River.

The convergence of these two stories reminds us of the history of the American experience of poverty, and its coverage in the media, and its depiction in photography. The issues are complex; the outcomes are often disturbing.

We had a lively discussion on this blog a while back around the work of Shelby Lee Adams,  who -- depending on your point of view --  is either documenting the lives of people of grit and courage who persevere under difficult circumstances or exploiting for the entertainment of an urban elite the lives of people who from the perspective of the paying customers for Adams' work insist on being strange, eccentric, stubbornly persistent in being different from folks like you and me.

Much, although far from all, of Appalachia is located in the American South, but the relationship between Appalachia and the South of conventional narrative -- the narrative of the Southern Piedmont and coastal plain -- is complex and fraught with tension.

Southern Appalachia is where the planter aristocracy has gone, from time immemorial, to escape the heat of lowland Southern summers. So a good bit of Appalachian culture was built around catering to those folks' needs; to this day one can find in the Southern mountains traces of the most bigoted attitudes toward people of color one can find anywhere.

But Appalachia, as Daniel Sharfstein has documented in The Invisible Line, his study of the color line in American history and culture, has been a place where people of color could sometimes find refuge from the bigotry and racism of lowland folks like my ancestors in Anson County, North Carolina.

Then you have the case of West Virginia, a state created precisely so its residents could escape the defining event of Southern history.

Yet all of Appalachia shares with the rest of the South the complex history of poverty and race in America, intertwined with the even more complex history of the relationship between rural and small town life and the life of urban areas.

Add to that, the complex relationship between poverty, race, and photography. The history of American photography records as a defining moment the work of Walker Evans and other WPA photographers  during the Depression.

The subjects of their attention were the rural poor -- black and white -- of the traditional South.

One of their number, Marion Post Wolcott, made the image above in the late 1930's, outside Wadesboro, NC, the town in which I was born just a few years later.

The 1960's War on Poverty shifted our attention from the rural lowland South to Appalachia, but that was an arbitrary move, since pictures as haunting and disturbing as Wolcott's could have been made in Anson County in the 1960's, or even today, for that matter.

Nor does the chemical spill in West Virginia have only local significance, as the work of Richard Misrach in Cancer Alley in Louisiana should remind us.  I'm hoping photographers in central North Carolina are documenting carefully Duke Power's recent spilling of coal ash in the Dan River.

We have had a tradition in the USA of trading responsible care for the environment for short-term economic gain. Whether the crop is cotton, tobacco or coal, the lure of wealth has led us repeatedly to exploitation of our resources, whether environmental or human.

So its good that folks are attending to Appalachia, and especially that good photographers like Roger May, Rob Amberg, Stacy Kranitz, and Kate Fowler are engged in this project.

We'll keep you posted.

Tuesday, April 15, 2014

Jerry Siegel at the Montgomery Museum of Fine Arts

Atlanta-based photographer Jerry Siegel (see image above) has a show of his portraits of Southern photographers up at the Montgomery Museum of Fine Arts through June 1st, 2014.

Siegel has been photographing Southern artists for the past 16 years. He published a collection of this work with the title Facing South: Portraits of Southern Artists in 2012 from the University of Alabama Press.

Now the Montgomery Museum of Fine Arts (located in the Wynton M. Blount Cultural Park, off Vaughn Road, in Montgomery, AL) has had the exceptionally clever idea of mounting an exhibition of Siegel's images of photographers, pared with the photographs by the photographers he has photographed.

That's a lot of conceptual boxes-within-boxes, but MMFA says of this show, "By providing details such as what the artist looks like or where they work, Siegel creates an important visual record that illuminates the rich art-making culture of the South."

Artists photographed by Siegel with works on view include William Christenberry, Thornton Dial, Sr., Crawford Gillis, Dale Kennington, Charles Shannon, Mose Tolliver, and Yvonne Wells.

Great concept for a show, great work on view, definitely worth a visit if you are in Montgomery.

A Grab Bag of Events Current and Upcoming -- Spring 2014

1. The fine folks from Pike County, Georgia who run the annual Slow Exposures show of photography about the rural South have just issued their call for submissions for this year's show.

See image above for an example of work from last year's show (Dust Bowl Dance by Tracy Moore of Warner Robbins, GA)

The dates for this year's show are September 19-21 and 26-28, 2014.  This year's jurors are Alexa Dilworth of  Duke University's Center for Documentary Studies and Aline Smithson of the Lens Scratch blog. 

The deadline for submissions this year is June 15th. This is one of the great shows -- and one of the great events -- in Southern fine art photography, well worth your effort to participate. Enter here.

2. And, speaking of shows, the AIPAD Photography Show, which the organizers want us to believe features "the world's leading art galleries," just finished its run at the Park Avenue Armory in Manhattan.

AIPAD is an acronym for The Association of International Photography Dealers.

There were 84 galleries deemed worthy by the organizers to be listed among the world's leading art galleries this year.

We are pleased to notice that three of these 84 galleries are based in the American South, including, from Houston, the Catherine Couturier Gallery,  from Washington, DC, the Gary Edwards Gallery,
and from Atlanta,  Jackson Fine Art.

3. Columbia, SC-based photographer Eliot Dudik (see image above) is interviewed on, in a section called Mossless Magazine, or Mossless in America, here.

Dudik also has a show of his work at the Irene Carlson Gallery on the campus of the University of La Vergne, in  La Vergne, CA, up now through May 30th, 2014.

4. Dallas-based photographer Brandon Thibodeaux (see image above) now has work from his When Morning Comes portfolio on display at the Museum of Photographic Arts in San Diego, CA.

The MoPA would like to buy prints of this image as well as others by Thibodeaux to add to their permanent collection, and you can help by going here.

5. The Ogden Museum in New Orleans has a show called Shadows of History: Photographs of the Civil War from the Collection of Julia J. Norrell (see image above), opening on April 17, and up through July 13, 2014.

Later this year, the Ogden will host an exhibition of the work of Paul Kwilecki (see image above), the photographer who spent over 40 years photographing in Decatur County, Georgia.

The show, called One Place: Paul Kwilecki and Four Decades of Photographs from Decatur County, Georgia, opens at the Ogden on July 24th and will be up through September 21st, 2014 .

6. Anne Wilkes Tucker,  the soon-to-retire Curator of Photography at the Museum of Fine Arts in Houston,  looks back on her career of 30 years in photography in an interviews in the Wall Street Journal.

7. Washington, DC-based photographer Jared Soares (see image above) has been photographing in Virginia, and work from his Small Town Hip-Hop portfolio is featured in the March 2014 issue of Fraction Magazine.

8. Really interesting interview with Atlanta's Jennifer Schwartz about her current project,  the Crusade Engagement Grant, here, from Lenscratch. 

9. And, finally, for now, since we last checked, the following Southern photographer has been featured in Jeff Rich's ongoing Eyes on the South feature on the Oxford American website:

Jared Ragland

And, yes, I'm catching up!


Friday, April 11, 2014

Bull City Summer -- A Season at the Ball Park -- at the NC Museum of Art

The North Carolina Museum of Art in Raleigh has up now through August 31st a show of photographs entitled Bull City Summer.

Bull City Summer is a fine art photography show about baseball, Southern small-city baseball, minor league baseball.

For those of you not from North Carolina, the Bull City is Durham, where the AAA minor league team the Durham Bulls play baseball in the summertime, in the heart of the city, taking their name from Bull Durham Tobacco, a brand of loose-leaf tobacco manufactured in Durham from the middle of the 19th century until the late 1980's.

The images in this show were made by nine regionally and nationally known artists, including Alec Soth (see second image above), Hank Willis Thomas, Hiroshi Watanabe, Alex Harris (see second image below), Frank Hunter (see image above at the top and image three images below), Kate Joyce (image four images below), Elizabeth Matheson (see image directly above), Leah Sobsey (see the image five images below), and Ivan Weiss (see image directly below).

One or more of these folks photographed at the Durham Bulls Athletic Park in Durham, NC, during all 72 home games of the Durham Bulls 2013 baseball season.

This convergence of first-class photographers -- and the appearance of their work at the NC Museum of Art -- did not come about by accident.

The summer of 2013 was the 25th anniversary of the movie Bull Durham, certainly the greatest minor league baseball movie -- and arguably the greatest sports movie -- ever made.

The popular success of Bull Durham brought renewed attention to minor-league baseball and contributed significantly to the transformation of downtown Durham, NC, from a semi-wasteland into a thriving, hip, arts-and-dining center, full of galleries, restaurants, farmers markets, theaters, and, of course, the new Durham Bulls Athletic Park (or DBAP, as they call it).

Spring a year ago, with the anniversary of Bull Durham fast approaching, Durham's Sam Stephenson, of Duke's Center for Documentary Studies, saw the opportunity to mark the occasion with a documentary project, to be the inaugural project of his Rock Fish Stew Institute of Literature and Materials.

Stephenson describes the goal of this project as “to converge on the stadium and its surroundings with a team of documentarians and see what we find — ’stories, images‘ — on the field and behind the scenes over the course of a season. If we succeed, there will be a portrait of the art and craft and grit of baseball and the community that revolves around it in downtown Durham.”

Now, baseball comes in games, and games are events that are about wins and losses, and hits, runs, and errors. Baseball as an event is photographed constantly by exceptionally skillful sports photographers, whose work shows up in your local newspaper, and in Sports Illustrated, and on ESPN.

But baseball is also a game that appeals to a cadre of exceptionally talented and well-educated people who can discuss the minutiae of the game and quote Albert Camus in the same conversation.

These folks see in baseball more than a game, more than an ephemeral activity that is a good way to spend a warm summer evening.

For these folks, baseball is more about ritual and metaphor and meaning than it is about beer and hot dogs, or wins and losses.
Stephenson is one of these guys, and he was joined in the organization of this project by another of these guys, Adam Sobsey, a baseball writer who of course is not just a baseball writer, but a playwright, too, and an essayist for the Paris Review, and probably other things as well.

“For me, a baseball game is much more than a series of events and outcomes simply to be reported and disseminated,” Sobsey says. “It’s a cultural object, both by itself and as it interacts with American life, and therefore a subject for documentary art—it invites and demands consideration, elaboration, framing, cropping, coloring and exposure."

These are the kinds of smart guys who know how to make something distinctive out of the ordinary, how to turn something like minor league baseball into a subject for lengthy essays that they can get published in the Paris Review and how to get heavy hitter photographers like Alex Soth, Hank Willis Thomas, and Hiroshi Watanabe to photograph baseball games in Durham.

So they got organized, and partnered with the folks at Daylight Books, and put together a local team of some of the best photographers in North Carolina, from the glorious Elizabeth Mattheson to the splendid Alex Harris and the brilliant Leah Sobsey, and planned visits by the big gun out-of-towners, and started themselves a blog and a website

From the website, you can see a lot more of the photographs. If you follow these links, you can also read Stephenson's and Sobsey's essays in the Paris Review.

These guys also know how to get things done.  Not only do they have the exhibition at the NC Museum of Art, they have a book coming out, also called Bull City Summer, from Daylight Books.
They will also have another exhibition of this work later this year at the Contemporary Art Museum in downtown Raleigh.

Baseball to these folks is about life, or about particular kinds of obsessions in life, especially the obsession of minor league baseball, which is played in the shadow of the majors.

The photographers they brought in didn't photograph hits, runs, or double plays; they left that to the sports shooters. They photographed the people, the patterns, the lights, the rituals, and the dust marks baseballs leave behind when they hit the walls of the park (see Kate Joyce's image below). 

Bull City Summer is about baseball in the minors, where its all about the game itself, the playing, the setting, the rhythms. Players come and go as their careers take them up or down. No one remembers for long who won or lost.

What endures is the memory of time spent in a place out of time, and an event of endless complexity within a basic simplicity, where one makes one's way from beginning to end with as much grace and dignity as one can muster.

The challenge of the small city baseball fan is to find in the very nature of the minor league game a truer and more honest resource for making sense of life. We, too, are here, now, in this place, and we, too, will fade away, lost and forgotten like the rest.

We are such stuff as dreams are made on, and some of our dreams may come true, but not all of them, and there comes a time when we have to see, really see, where we are, and who we've become, and what sense we can make of it.

So minor league baseball is about making a virtue of necessity, about elevating the mundane and everyday to a new place by looking closely, by taking care, by making art.

In Bull Durham, the character Crash Davis -- whose days of dreaming about making it to the Show are long past him -- criticizes the young pitcher he is trying to get ready for the Show for not having respect for the game.

That's what comes through these photographs -- an attention to detail, to selection, to arrangement, as well as a respect for the dignity of the subject matter, of the people, and of the ordinary moments in   
their lives.

My sons-in-law, who live in New England and are big fans of the Boston Red Sox, assure me that at Fenway Park, the home of the Show, of real baseball, the baseball that is a multi-billion dollar industry that can capture the attention of a nation -- at Fenway Park there is no mascot who runs the bases with kids, no sign on the wall that flashes lights and blows smoke when someone hits a home run.

From the perspective of minor league baseball, the glitz and glamor of the Show are, finally, illusions. As small city baseball fans, we can believe that minor league baseball is real, or at least realer, than the majors, because we can't fool ourselves for long, or at least as long, that this matters as more than a structure for time and place.

And we don't have to pay major league prices to learn that lesson. 

Minor league baseball, small Southern city baseball, is in part about the dream of being in Boston, or Chicago, or San Francisco, or New York, or even Atlanta. But its also about what results when you respect the game, wherever its played.

They've got the Show; we've got the ritual, that and Wool E. Bull.

Thursday, April 3, 2014

Southern Photographers in the News, Part 3 -- Early Spring 2014

Eight items of interest --

1. The NC Museum of Art has a new selection of work up in its ongoing Close to Home: A Decade of Acquisitions exhibition, now through August 10th, 2014. 

This round of work continues to reflect the museum's renewed commitment to photography as an art form, and to North Carolina photographers in particular.

This phase of the show includes photographs by NC-based photographers Elizabeth Matheson, Caroline Vaughan, elin oHara slavickDavid Simonton, Bill BambergerCarolyn DeMeritt (see image above), and Rob Amberg.

2. Chapel Hill-based photographer Lori Vrba is opening a show of work from her portfolio Drunken Poet's Dream (see image above) this weekend at Houston's Catherine Couturier Gallery, up through April 26th, 2014.

3. Norfolk, VA-based photographer Matt Eich was a finalist in this year's Aperture Portfolio Prize competition, won finally by a photographer Not From Around Here. Eich's portfolio for this competition is here.

4. Rebekah Jacob Gallery, in Charleston, now has up their annual Somewhere in the South show, through April 15th, 2014.

This year, the show features color photographs of the South by a number of Southern photographers, including past masters William Eggleston and William Christenberry as well as contemporary artists including  Eliot Dudik, Kathleen Robbins, Walker Pickering (see image above), and Susan Worsham.

5. Raleigh-based photogrpaher David Simonton and Hickory-based photographer Aaron Canipe are among photographers recently featured on the American Guide website.

6. Asheville-based photographer Ralph Burns (see image above) has a show up at the Asheville Art Museum, through July 20th, 2014, as well as work on display at Blue Spiral 1, the Asheville craft gallery. 

7. Atlanta-based Crusader for Photography Jennifer Schwartz has published a guide to success in the world of fine art photography, called Crusade for Your Art, which looks to be really helpful in understanding the complex world of shows, galleries, portfolio reviews, festivals, websites, marketing, and social media. Available at your favorite Amazon website.

8. Finally, for now, the following photographers have been featured on Jeff Rich's Eyes on the South blog for the Oxford American magazine, since we last checked:

Robbie McCalarin
Ansley West Rivers
Talbot Easton Selby
Betty Press (see image above)
Aaron Turner
Becky Harland
Houston Colfield (see image below)

Tuesday, March 18, 2014

Carrie Mae Weems at the Nasher Museum

Honorary Southern Photographer Carrie Mae Weems recently delivered the Rothschild Lecture for 2014 at the Nasher Museum of Art on the campus of Duke University.

Folks who would like to get at least the flavor of her lecture may now do so, thanks to the generous selections from her talk that the Nasher folks have gathered on their blog, HERE.

Tuesday, March 11, 2014

Southern Photographers in the News, Part 2 -- Early Spring, 2014

A couple more items from the news:

1. New Orleans-based photographer William Widmer is featured on the New Yorker magazine's website with a portfolio of his work A Cajun Courir, documenting Mardi Gras festivities in western coastal Louisiana.

This is a very un-New Orleans version of Mardi Gras.

The New Yorker describes Courir de Mardi Gras as "a ceremonial run that is believed to have its roots in Medieval French begging customs. Participants travel the countryside on horseback and on foot, soliciting ingredients for a communal gumbo that is prepared at the end of the run."

Some stunning images by Widmer on view here, well worth your attention.

2. Honorary Southern Photographer Dawoud Bey has several images in this year's Whitney Biennial, including the diptych Maxine Adams and Amelia Maxwell, from Bey's portfolio The Birmingham Project (see above).

Bey's work, including his formal portrait of Barack Obama, is on exhibit at the Whitney Museum of American Art,  at 945 Madison Avenue at 75th Street, in Manhattan, through May 25th, 2014.

Good to see Southern photographers, and Southern subjects, on view in NYC.

Monday, March 10, 2014

S[x]SE for March 2014

The latest issue (Volume IX, Issue 2) of South by South East (S[x]SE) Photography Magazine is now out for spring 2014, and it has all the fine photography and engaging features we have come to expect from S[x]SE.

Editor Nancy McCrary features in this issue a portfolio of work by New Orleans-based photographer Meg Turner (see image above) made in Chernobyl. There is also a long interview with Turner about her work, and especially about this body of work made far from Turner's home base in Louisiana.

The rest of the issue is devoted to a series of portfolios that all deal in one way or another with the subject of farms.

Photographers of farms include  Jimmy Williams, Kim Lane (see image 2 below), Mark Mosrie (see image above), Vincent Lawson, Robert A. Schaefer, Jr., Brandon Thibodeaux, Marla Puziss, Tina Bulka, Brett Schenning, Perry Dilbeck, Marge Marino, Allison Barnes, and Dan Routh (see image below).

In addition to all this fine photography there are book notices and reviews and other features we have come to expect, and value, from S[xS]E.

And you can have access to all this fine -- and award-winning -- work for a very reasonable fee, a very reasonable fee indeed.

To subscribe, to do the right thing, go here.

Don't put it off any longer. We Southern photographers need to support our basic institutions,

You know you should subscribe. You know it, you really do.

Southern Photographers in the News -- Early Spring, 2014

Three items of interest in the current press:

1. Photo District News has just released its list of 30 New and Emerging Photographers, and they include the following photographers with Southern roots or connections:

Billy Kidd (born in Pensacola, Florida)
Theron Humphrey (born in Jacksonville, NC; attended Savannah College of Art and Design; see image above)
Josh Wool (born in Charleston, SC; attended the College of Charleston; see image below)

Bryan Schutmaat (born in Houston, TX; works in Austin, TX)
Bryan Derballa (born in Orlando, Florida)
Greer Muldowney (attended the Savannah College of Art and Design)

2. The Onward Photography Blog is now featuring an extensive interview with Chattanooga, TN-based photographer Joe Reynolds, here. See one of Reynolds' images below.

3.Rebekah Jacob, owner of Charleston's Rebekah Jacob Gallery, will be hosting an exhibition of Civil-Rights Era photographs for one night only, on March 12th, 2014, at the Abramson Family Auditorium on the Washington, DC campus of NYU, at 1307 L Street, NW,  in Washington, DC.

The show, Created Equal, starts at 6:00 pm on the 12th, and includes photographs of the Civil Rights Era by a number of distinguished photographers, including Ernest Withers, Bruce Davidson, and Bob Adelman

There will also be a screening of the documentary film Freedom Riders, a film by Stanley Nelson, starting at 6:30 on the 12th, followed by a panel discussion featuring Deborah Willis, of NYU's Tisch School of the Arts, Arun Chaudhary (TSOA '04), first official videographer of the White House, gallery owner Rebekah Jacob, and Christopher Wilson of the Smithsonian African-American History Museum. 

The panel will be moderated by Gerald L. Early, of Washington University in Saint Louis.

Diana Bloomfield in Walter Magazine

Raleigh-based photographer Diana Bloomfield is the subject of a feature story in the current issue of Raleigh's city magazine Walter.

Bloomfield -- who has won multiple awards and shown her work around the world -- uses chiefly pinhole cameras and alternative printing and processing methods.

Her work ranges in subject matter from landscapes to portraits to elegantly seen fragments of the natural and built worlds.

Bloomfield unites her compositional and printing skills to produce finely-wrought meditative images that invite our repeated contemplation.

There is a stillness in these images, even when the subject matter is in frenetic motion, that contributes to their distinctive tone and mood.

The Walter story, by Samantha Hatem, chronicles the development of Bloomfield's career and captures her distinctive vision.

This is hard-won and well-deserved recognition for the work of one of North Carolina's finest photographers.

NB the portrait of Bloomfield in her lab, at the top of this blog entry, is by Tim Lytvinenko, one of my former students, clearly doing well.