Photography

I went to The Museum of Modern Art recently to check out some of the new photography exhibitions. In addition to the stark repetition the Bechers’ work and some of my favorites from Diane Arbus there was a wonderful exhibition of vernacular photography. The snapshots by anonymous photographers all depict the shadow of the photographer. The photos are hung salon style with a variety of different frames, bringing to mind a Victorian parlor or a page taken from a vintage photo album. Seeing all these photographs together also made me think of one of the downsides of the advent of digital photography: mistakes like these are now easily and instantly deleted.

Keep your back to the sun. This is one of the basic rules of photography for obvious reasons. Unfortunately (or fortunately, depending on your view of these things) this often led to the photographer inadvertently placing himself, or to be more specific, his shadow, into the picture. Sometimes it is apparent that this was intentional, with the photographer having a little creative fun by finding a way of inserting himself into the photograph while remaining behind the camera. The majority of the time though the shadow is unintentional, with the photographer concentrating on the subject in the view finder and not noticing the dark shape until after the prints were made. It’s kind of ironic, focusing on the subject and getting results that make the intended subject secondary. The shadow becomes the center of attention. The shadow becomes what the photograph is about. We no longer have a photograph of Sally playing in her own yard. We have a photograph of Sally being approached by a stranger in her own yard. The shadow of the photographer changes what is happening in the photograph. The results can be playful and lighthearted or an ominous and disconcerting dialogue between the subject and the unknown.

100 Shadows, an exhibition of anonymous photographs all depicting the shadow of the photographer, will be on display in the lobby of Jefferson Market through October.

Click through here for books on vernacular photography.

One of Calvin Tompkins' Bachelors has shuffled off stage left. As the New York Times obituary makes clear, Rauschenberg's impact on the Visual and Performing Arts is pretty much incalculable.

I can't remember when I didn't know of Rauschenberg's work, having probably been exposed to a few pieces in my teens on a weekend getaway to the Art Institute of Chicago, but one of my favorite experiences that encompasses Rauschenberg and his cadre of New York pals was seeing the Merce Cunningham Dance Company perform at Lincoln Center in 1999. There in one place--literally and figuratively--were Marcel Duchamp, John Cage, David Tudor, Merce Cunningham, Jasper Johns, Morton Feldman, Bob Rauschenberg and, as something of a weird bonus Mikhail Baryshnikov, Gavin Bryars and Jim O'Rourke.

The Library for Performing Arts actually has a DVD of one night that I attended in addition to other videos and printed material relating to Rauschenberg's work with the MCDC as well as his experiments in Performance Art. In addition, the Wallach Division of Art, Prints and Photographs has a plethora of material outlining Rauschenberg's entire career.

Goodbye 20th century!

For the past few months I have been working with a collection of photographs of various locations in the United States from the late nineteenth century to the mid twentieth century. The collection will be available on our wonderful digital gallery in the future and I’m looking forward to seeing these images uploaded – some of them are really amazing.

I wrote a while ago about Hilah Paulmier and of the trail of documents that led me to verifying her identity. Recently I discovered another photographer who sparked my interest: William M. Van Der Weyde who captured the above image which is part of the Photographic Views of New York City Collection. While working on the images from the rest of New York I found some amazing photographs from Camp Black, a recruitment center for the Spanish-American War, also by Van Der Weyde. I will write again when these are available digitally.

Want to see some amazing photographs of New York City in the 1940’s and 1950’s? We recently acquired Vivian Cherry’s Helluva Town, a book of black and white photographs with images of New Yorkers at street corners and fruit auctions, on the el train and on bocce ball courts. The photographs capture the kind of New York that always seems damp and chilly, kind of like today.

The above photograph is part of the "By Popular Demand: Votes for Women," a digitized collection in the Library of Congress' American Memory Project. I love the details of this one: the ink well in the bottom left hand corner, the wooden ballot box, the look on the face of the voter to the right and how the photograph was taken just as the women in the middle is tearing her ballot.

Details like these are exactly what the Polling Places Photo Project are hoping to archive and share. "Polling Places" is a collaboration between the New York Times and AIGA. It is described as a "nationwide experiment in citizen journalism that encourages voters to capture, post and share photographs of this year’s primaries, caucuses and general election." I really like this one - A campaigner devoted enough to run into moving traffic.

So, don't forget to vote tomorrow and if you think to, bring your camera!

We all like a good challenge sometimes and one presented itself to me in these three images:

The Astor Library was opened to the public almost 150 years ago. One reason it was not viewed as a success is expressed in the illustration below:

Most of us, I think, would agree that democratization of information is a good thing. Making books, art, music freely available to more people can only bring about societal enrichment. The New York Public Library has a history of doing just that.

Working with the idea of social collective knowledge, libraries seem to be pushing the boundaries further. Even the Library of Congress is considering the benefits of allowing patrons to manipulate and create content. Recently the LOC collaborated with Flickr, uploading two collections of photographs with no applicable copyright restrictions, and allowing other Flickr users to tag the photos with their own descriptions. It is an interesting idea and many of the photographs are great, especially the color transparencies.

Since we recently had a little dusting of snow it's probably a good time to mention photographer Ellie Ga and her current foray into the depths of the Arctic night as Artist-in-Residence aboard the Tara. The Tara is not Skowhegan, but a research vessel that has been locked in the ice of the Arctic Ocean since September 2006.

Ga, who joined the Tara in September 2007, has been keeping an online journal on the Alliance Francaise website and there is a little more information (in English) on the Tara's site regarding her Arctic projects. The Dispatch gallery (appointment only) has also been receiving audio missives from Ga that they make available to visitors.

You might remember the Tara from Pierre Huyghe's 2005 Antarctic voyage, which was the basis for a Central Park public art performance in October 2005. Also along for the ride with Huyghe was Brazilian photographer Sebastiao Salgado, who was working on project for the United Nations Environmental Program.