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ANDOVER — Say what you will about the South, it has an unsurpassed cultural legacy. It’s contributed more to American listening than any other region. The extent of that contribution is obvious. The South has given the world jazz, blues, rock ‘n’ roll, country and western. This is cultural “soft power” at its most powerful. The world hears with Southern ears.
“A Long Arc: Photography and the American South Since 1845″ is a reminder of something less obvious: how large the region looms in American seeing. That’s a very different kind of power. The topography and verdure seen in images of the South may be soft, but little else is. So much of what has been shown so indelibly — slavery, racism, poverty, violence — encourages averted eyes, which makes not averting them all the more of an obligation. The lyrics “Look away, look away, look away, Dixie Land” take on a very different meaning. Seeing becomes an act of witness — though in no way an occasion to feel superior. This year marks the 50th anniversary of court-ordered desegregation in Boston.
Organized by Atlanta’s High Museum of Art, “A Long Arc” runs at the Addison Gallery of American Art through July 31. The title comes from Martin Luther King Jr.’s remark that “the arc of the moral universe is long, but it bends toward justice.” The show includes some 220 photographs, making it sweeping and ample, while at the same time, thanks to the wondrous specificity the camera bestows, precise and intimate.
Intimacy and amplitude might be seen to join in a single image: RaMell Ross’s “iHome,” from 2012. A 19th-century mansion is visible on an iPhone screen. The person holding the iPhone is Black. Look closely, and you can see the traditional classical colonnade of a plantation house. Hand, phone, and image dominate the foreground. Looming out of focus in the background is the house, at once portal to and emanation from a spectral past. That’s a lot of history, a lot, packed into slightly more than 500 square inches.
“A Long Arc” follows its own, chronological arc. It begins with the antebellum period and Civil War. One reason that Northern photographers were so much more prevalent is that the Union naval blockade largely cut off shipments of photographic supplies from Europe. History is even more likely to be photographed by the victors than written by them.
Here is the first, and most extreme, instance of a running theme throughout the show: images taken by outsiders vs. images taken by native Southerners. That interplay is most evident in the section on the civil rights years, 1956-68, with photographs from both Northerners, such as Danny Lyon and Bruce Davidson, and Southerners, such as Ernest C. Withers and Charles Moore.
Some of those visitors you’d expect: Lewis Hine, Walker Evans, Dorothea Lange, Margaret Bourke-White, Robert Frank. There are even more whose presence is surprising: Edward Weston, Henri Cartier-Bresson, Irving Penn, Richard Avedon, Lee Friedlander, even Diane Arbus (one of her two pictures here is a portrait of Coretta Scott King).
The period from 1865-1930, the next section of “A Long Arc,” witnessed Reconstruction, the rise of Jim Crow, the emergence of the mythos of the Lost Cause, and promotion of “a New South.” These years were crucially important, but the elements of that importance didn’t necessarily lend themselves as well to visualization. This is another running theme: how the camera, confronted with daunting abstractions, like discrimination and inequality, sometimes can, and sometimes can’t reveal their human impact. The next section, covering 1930-45, very much shows what the camera can do in this regard. That’s chiefly through the work of such Farm Security Administration photographers as Evans and Lange.
The section devoted to 1945-1970 documents the postwar go-go years, when the South changed even more than the rest of the country did (no small feat). It overlaps with both the civil rights section and, a little bit, with the next section, 1970-96. That’s largely thanks to the careers of William Eggleston (who turns 85 in July) and the late William Christenberry.
The two were friends, and their work shares a nobly deadpan quality, ultimately derived from Evans. Yet each deployed that deadpan in very different, if also surprisingly complementary ways. Eggleston is a kind of Memphian magical realist. Christenberry was an Alabamian elegist. In one of those happy implausibilities that refresh the culture, the locus of both Christenberry’s work and RaMell Ross’s is Hale County, where Evans shot the photographs in his collaboration with James Agee, “Let Us Now Praise Famous Men.”
The final section, which covers 1996 to the present, has the amusing (because not inaccurate) title of “A New South, Again.” It draws on the High’s “Picturing the South” project. Starting in ‘96, the museum began commissioning photographers to document the region. That creative tension between inside and outside continues. Some have been Southerners: Emmet Gowin, Sally Mann. Others have not: Abelardo Morell, An-My Lê, Martin Parr. One associates Richard Misrach with the West, for example. Yet in his very large view of a swamp and pipeline — it’s 5 feet by 6 feet — Misrach makes the Louisiana bayous very much his own.
Even with so many photographs, and such a lot of ground to cover, “A Long Arc” finds room for internal grace notes. Evans’s 1936 portrait of Allie Mae Burroughs, from “Let Us Now Praise Famous Men,” hangs cater-corner to an even more striking, if nowhere near as famous, Lange portrait, from 1938, “Formerly enslaved woman, Alabama.” Evans’s “Penny Picture Display, Savannah, Georgia,” also from 1936, is by a set of family portraits by Evelyn Massengill, who helped run a traveling commercial photographic studio with relatives. Speaking of family, an Eggleston picture hangs near one taken by his cousin Maude Schuyler Clay.
So many of the most striking images here — of the Civil War, of economic conditions, of the civil rights protests — present mighty externalities, lives shared, public issues. Much of “A Long Arc” could illustrate a textbook for a civics or American history course, and that course would be well worth taking.
That means there’s all the more reason to note that no small part of the show’s richness is the allowance it makes for inwardness and mystery. “Southern Gothic,” after all, is no less a part of the region’s cultural baggage than “Lost Cause” or “New South.” Among the most memorable images here, because they’re often the most inscrutable and/or evocative, come from Mann, E.J. Bellocq, Clarence John Laughlin, and Ralph Eugene Meatyard. Mann is from Virginia, Bellocq and Laughlin from New Orleans, Meatyard from Kentucky. Yet their work transcends region, unless the South can be said to have a greater claim on the id and imagination than anywhere else (yes, that argument has been made). Alec Soth, another “Picturing the South” participant, isn’t a Southerner — though the Mississippi does pass through his native Minneapolis. Even so, Soth’s “Enchanted Forest (36), Texas” very much fits within the borders of this visual dream kingdom. The long arc bends. Sometimes it also shimmers.
A LONG ARC: Photography and the American South Since 1945
At Addison Gallery of American Art, Phillips Academy, 3 Chapel Ave., Andover, through July 31. 978-749-4015, addison.andover.edu/
Mark Feeney can be reached at mark.feeney@globe.com.
A priest who had some strong words for a wedding photographer is now facing backlash following a recently-released video of the incident.
Julieanne Whyte runs a photography business, specializing in capturing the best moments of couples’ weddings. It only takes one look at the breathtaking shots on her website to know Whyte is a pro.
Apparently a priest needed more proof of her credentials before officiating a recent wedding Whyte was hired to photograph.
Whyte said she debated on whether to release a video that clearly showed a priest sternly speaking to her before the start of the ceremony. She eventually published the video on TikTok saying “this happens way too often to photographers and videographers…”
In the video, we see the priest so close to Whyte, his face isn’t even in the shot.
“I’m in charge here, I’m in charge here,” he says pointing a finger at the photographer. “You disrupt me with that camera and I will give you such a glare.”
Whyte claims she was only in the spot for two minutes before the start of the ceremony. She appeared to be off to the side, and not even right in the middle of the action.
So, why was this guy so mad?
Judging by the comments, few are siding with the priest on this one.
The scene from Whyte’s viral video was not surprising to other photographers in the wedding business. PetaPixel.com reported that another photographer has started a petition to get someone to address outbursts from the church on wedding days.
The petition has already been signed by more than 900 people. But, really, who is in charge here?
The priest is presiding over the ceremony, but the photographer doesn’t work for him. She was hired by the couple who shelled out thousands of dollars for their special day.
Gallery Credit: Charlotte Barnett
Movies and TV shows have always found ways to partner with cereal companies as part of their promotion strategy. While some may have come up with a giveaway in boxes, others went big by having their own cereal connected to the movie or TV show title. Here are vintage cereals that were used to promote some of pop culture’s biggest moments (and some you probably forgot about).
Gallery Credit: Rob Carroll
Even though North Adams is considered the Poorest City in Massachusetts which you can read about here, there is extensive history behind it.
According to Historic North Adams, The history of 19 and 21 Eagle Street dates back to the 1800’s. The 21 Eagle Street portion was the first to be built as a criminal lockup between 1864 and 1869. In 1869, bought by the Tower Brothers, Horace and Henry Tower due to the building being unfit for a criminal lockup. The two brothers renovated the building including the construction of the 19 Eagle Street Portion in 1870 which was completed in 1872, and started using it as a butcher shop in 1876 (100 years after The Declaration of Independence).
KEEP SCROLLING TO VIEW THE BUILDING’S CURRENT STATE:
Courtesy of the North Adams Historical Society
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The Tower Brothers ran their successful butcher shop until Henry decided to sell his stake in the business to his brother. By 1901, the company unfortunately went bankrupt, and Horace Tower sold the building over to a woman by the name of Amelia Hodskins. It is unknown what she used the building for during that time period but it is believed the place was used as a residence for either herself or other tenants.
By 1915, she then sold it to Charles Kronick where he opened up a shoe store in the building in 1920. Part of the advertising could still be seen recently. The building went through various shops through the years but it was very well known as ‘Moderne Studios Photography.’
Courtesy of the North Adams Historical Society
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The shop was very popular during the 1960s as most schools in the area would have their student’s yearbook pictures taken there. ‘Anne’s Kiddie shop’ also had a spot there and sold a variety of Children’s Goods. In the late 1970s, the 21 Eagle Street Building was used as at a pet store known as ‘Tropical Gardens’ until a fire broke out in 2008 causing heavy damage to the building according to Iberkshires. The building was demolished a few years later and is currently a small park area.
So, where the does 19 Eagle Street building stand?
Photo Credit: Nick Mantello
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According to Iberkshires, on Tuesday, March 05, 2024 at around 11:33 PM, Moderne Studios may be just a memory as the rear of the three-story brick building collapsed and officials deemed it a public hazard that needed an emergency demolition. The full story can be read here.
Gallery Credit: Stacker
Some are no surprise, but some may shock you.
Gallery Credit: Maddie Levine
Gallery Credit: Google Maps
He is known as the dashing society photographer who became Princess Margaret’s husband.
Born on this day in March 1930, Lord Snowdon rose to the very highest levels of the establishment.
Yet Antony Armstrong-Jones was an intriguing figure in his own right, one of the most glamorous men in post-war London even before he married the princess in 1960.
He also had a taste for scandal, conducting numerous affairs and fathering an illegitimate child before the breakdown, amid much acrimony, of the marriage to Princess Margaret.
Armstrong-Jones was born, in 1930, at the grand family home in Eaton Terrace in London’s Belgravia, the son of Welsh barrister Ronald Armstrong-Jones and his wife, Anne Messel.
But just before his fifth birthday, his parents divorced and both Tony, as he was known by those close to him, and his sister, Susan, went to live with their mother.
Anne married Lawrence Parsons, 6th Earl of Rosse, later that year. The following year, his father remarried too, before marrying a third time and having a child, Antony’s half-brother Peregrine Armstrong-Jones.
In Armstrong-Jones’s obituary in The Guardian, his childhood was described as ‘loveless and emotionally starved’, and that he was ‘treated as distinctly inferior’ to his mother’s two sons with Lord Rosse.
At 16, he contracted polio while on holiday in Wales and spent the next six months recuperating in Liverpool Royal Infirmary. The only visitor from his family during this period was his sister, Susan.
He survived the illness, but it took a toll on one of his legs, leaving him with a limp for the rest of his life.
His childhood illness meant that, as an adult, the future Lord Snowdon would be a tireless campaigner for disabled people.
As a boy, after attending Sandroyd preparatory school in Wiltshire, he went to Eton and then Cambridge, but dropped out after failing his second-year exams and decided to devote himself to photography.
His career took after society photographer Stirling Henry Nahum – known professionally as Baron – visited Armstrong-Jones in his London flat, which doubled as his work studio.
Baron agreed to take him on as an apprentice, and in 1956 he had produced enough notable work to be able to put on a one-man exhibition.
This would be Armstrong-Jones’s entry into royal circles, securing him the commissions for the Royal Family, and thus his meeting with Princess Margaret, at a dinner party in 1958.
He was commissioned to take portraits of Queen Elizabeth II, Prince Philip and their children at Buckingham Palace, and took official portraits of the Queen and Duke of Edinburgh during their 1957 tour of Canada.
Other subjects of his included Dame Maggie Smith, David Bowie, Elizabeth Taylor, Princess Grace of Monaco, and Diana, Princess of Wales.
Margaret and Tony married in 1960 and he would become the 1st Earl of Snowdon.
But behind the public persona – and the glamour of his role and the circles in which he mixed – was a man with an intriguing and complicated private life.
A mere three weeks after the wedding, a child was born that he had conceived with a married lover, Camilla Fry.
His illegitimate daughter, Polly Fry, was raised to believe that Camilla’s husband Jeremy was her father, and the truth was kept secret for 45 years, until 2004, when Polly decided to take a DNA test.
The result confirmed that Armstrong-Jones was her biological father. Yet the scandal involving him and the Frys did not stop there.
And he was much gossiped about with regards to possible relationships with men.
Writer Anne de Courcy quoted a close friend of his as saying about his various sexual preferences, ‘If it moves, he’ll have it.’
When asked about his sexuality by de Courcy, Armstrong-Jones, who died in 2017, responded: ‘I didn’t fall in love with boys – but a few men have been in love with me.’
Society interior designer Nicky Haslam, now 83, claimed to have had an affair with him. In his memoir, Redeeming Features, he said he had ‘a very brief romance’ with Armstrong-Jones a year before his wedding to Princess Margaret.
Appearing on 2023 ITV documentary series The Real Crown: Inside the House of Windsor, he said: ‘Tony was a terrific seducer, he could seduce that table leg. He was terrific fun, Tony, a devil incarnate, but a charmer at everything.’
His entry in the Dictionary of National Biography identifies him as bisexual, a label he never overtly denied.
Unhappily, the marriage to Margaret was not to last. The couple divorced in 1978, with allegations of infidelity on both sides.
Margaret never married again but Armstrong-Jones did, later that year, to Lucy Lindsay-Hogg.
When asked about his sexuality by de Courcy, Tony famously responded with: ‘I didn’t fall in love with boys – but a few men have been in love with me.’
Additionally, his entry in the Dictionary of National Biography identifies him as bisexual, a label which he never overtly denied during his life.
In the 1960s, shortly after his marriage to Margaret, Snowdon became the artistic adviser of The Sunday Times Magazine and established himself as one of Britain’s most respected photographers of his time.
His subjects included Dame Maggie Smith, Lynn Fontanne, David Bowie, Elizabeth Taylor, Princess Grace of Monaco, and Diana, Princess of Wales.
HARARE, Zimbabwe, 07 March 2024 -/African Media Agency(AMA)/- This Women’s History Month, Pin Africa and Unpublished Africa proudly announce the launch of the “We (Are) Invested” campaign, a dedicated initiative to celebrate the contributions and achievements of women photographers and photojournalists across Africa. Aligned with the United Nations International Women’s Day 2024 theme, “Invest in women: Accelerate progress,” this campaign aims to spotlight and support the pioneering women who have overcome industry challenges to pave the way for future generations in photography.
The campaign will unfold through a series of engaging initiatives, including a panel discussion, a month-long virtual exhibition, and spotlight features on African women photographers. These events are designed to inspire, educate, and build a supportive community for women in photography, highlighting the campaign’s theme of collective investment in women’s progress.
Panel Discussion: Elevating Emerging Photographers
On March 7, 2024, a panel discussion titled “How to practically pull others up as you rise” will feature leading photographers and organisation founders supporting photographers in Africa. This virtual event will explore the unique challenges faced by emerging photographers and propose strategies to overcome these barriers. Interested participants can register to join the virtual event here, where they will gain valuable insights and strategies for navigating the photography industry.
Virtual Exhibition: We (Are) Invested
Following the panel discussion, the “We (Are) Invested” virtual exhibition will be accessible to the public. This exhibition showcases the pivotal and impactful works of women photographers from various African countries, highlighting the significant issues and narratives within their journey. The virtual exhibition can be accessed here, offering an invitation to view the exhibition and follow the work of these talented photographers.
Spotlight on African Women Photographers
Throughout March 2024, Pin Africa and Unpublished Africa will feature the work of African women photographers, shedding light on their invaluable contributions within their communities and across the continent. This initiative aims to encourage the sharing of African stories captured and told by Africans, emphasising the importance of women’s perspectives in the photography industry.
Distributed by African Media Agency (AMA) on behalf of Pin Africa.
About Pin Africa
Pin Africa is a social enterprise and global media platform dedicated to showcasing authentic African stories and voices. With a mission to change the narratives of Africa through storytelling and content creation, Pin Africa provides storytellers and journalists with the necessary tools and resources to share their own stories, empowering them to make a significant impact on global perceptions of Africa.
About Unpublished Africa
Unpublished Africa is a collaborative platform that works with storytellers to uncover and share the African story in innovative and creative ways. By providing a space for like-minded creatives to build a community, Unpublished Africa fosters collaboration, curiosity, and confidence among African storytellers.
For more information about the “We (Are) Invested” Women’s History Month Campaign and to participate in the upcoming events, please visit pin-africa.com and Unpublished.Africa website.
Contact:
Janette Daramy
Business Manager
info@pin-africa.com
pin-africa.com
The post Pin Africa and Unpublished Africa Launch Women’s History Month Campaign to Celebrate and Empower Female Photographers and Photojournalists appeared first on African Media Agency.
Israeli photographer Miki Spitzer wan first prize in the annual World Nature Photography competition in the Nature Art category for a photograph taken in Iceland of sulphate-rich water painted yellow flowing over a black volcanic landscape toward the sea.
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“The melting icebergs create massive rivers flowing to the ocean,” Spitzer told Ynet after his win. “I sent up a drone to a certain location amid strong winds, to take this wonderful picture in which people see the image of an elephant or a lion, a dragon or a flower,” he said.
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Miki Spitzer photograph wins gold in World Nature photography competition
(Photo: Miki Spitzer )
Spitzer has made Iceland one of his favored locations for photography and had just recently returned from his 13th visit to the island nation.
“Many have asked why I return there again and again so the truth is I’ve become addicted,” he said. “With spectacular volcanos, giant icebergs, black beaches, strong wind northern lights and thousands of waterfalls, Iceland is like a different planet.”
Spitzer said that Iceland, like many of the Nordic countries, is pro-Palestinian. “I was a bit apprehensive abut traveling there because of the situation but ultimately found myself on a flight,” he said.
“Once, while photographing a waterfall at sundown, I met a large group from the Netherlands who asked where I was from. When I said Israel, they greeted me and inquired after the hostages. They said they were praying for us and were hoping to visit.,” he said.
Of his win of the highly respected prize, Spitzer said: “It makes me happy to represent Israel with honor, especially during these difficult times. ”
Canon Europe (www.Canon-Europe.com) today announces, ‘World Unseen’, with a photography exhibition that invites visitors – blind, partially sighted and sighted – to experience photography in a new, accessible and immersive way. The exhibition will be held at Somerset House, London between 5-7 April, in partnership with the Royal National Institute of Blind People (RNIB).
There are at least 2.2 billion people globally who have some form of visual impairment[1], for whom photography remains largely out of reach. Designed with the experience of blind and partially sighted people in mind, the exhibition will feature a series of photographs taken by world-renowned photographers. These are accompanied with elevated prints, audio descriptions, soundscapes and braille for a tactile experience that helps visitors connect with these powerful images and the stories they tell.
Sighted people too will gain a better appreciation of the partially sighted experience. Each image will be obscured in different ways to convey different types of visual impairment, from glaucoma to diabetic retinopathy. While this raises awareness of accessibility in arts and cultural spaces, it also draws attention to how inclusive design heightens the experiences for everyone.
The exhibition will feature works from world-renowned photographers and Canon ambassadors from around the globe, including multi-award-winning South African photojournalist Brent Stirton, renowned Brazilian Photojournalist Sebastião Salgado, Nigerian photojournalist Yagazie Emezi, sports photographer Samo Vidic, fashion photographer Heidi Rondak and Pulitzer winning photojournalist Muhammed Muheisen.
An accompanying video series (https://apo-opa.co/43niJLr) will feature partially sighted individuals, including British disability activist, Lucy Edwards, and Menna Fitzpatrick MBE, Britain’s most decorated Winter Paralympian, who have collaborated with Canon to tell their stories and show their reaction to experiencing this photography for the first time.
“Photography is an incredibly powerful medium that can push the imagination and we want this experience to be accessible to everyone. This exhibition was created with blind and partially sighted people in mind to share imagery and the stories behind them in an entirely new way. With Canon’s elevated print technology, we hope all visitors will feel a deeper connection to the emotions and stories that imaging can bring to life,” says Pete Morris, Brand and Sponsorship Senior Manager, Canon EMEA.
Dave Williams, Inclusive Design Ambassador at RNIB, said: “The World Unseen exhibition opens up the world of photography and enables more blind and partially sighted people to experience the emotive stories, and physical touch, of these iconic images. As a braille user, it’s fantastic to be working with Canon to raise awareness of the possibilities of textured print and to see in action how technology can make art more accessible for people with sight loss.”
This isn’t the first time that Canon has brought the arts to life through elevated print. Through its proprietary PRISMAelevate XL software and Arizona printer series, Canon has been making arts more accessible for blind and partially sighted people for many years, supporting art galleries and museums globally with tactile printing and braille signage. Most recently at an experimental photo exhibition in Vienna (https://apo-opa.co/3P9Cwb8) and one in the Netherlands (https://apo-opa.co/48OKgX0).
Tickets for free admission are now available: https://apo-opa.co/4a1emYj
Distributed by APO Group on behalf of Canon Central and North Africa (CCNA).
Media enquiries, please contact:
Canon Central and North Africa
Mai Youssef
e. Mai.youssef@canon-me.com
APO Group – PR Agency
Rania ElRafie
e. Rania.ElRafie@apo-opa.com
About Canon Central and North Africa:
Canon Central and North Africa (CCNA) (www.Canon-CNA.com) is a division within Canon Middle East FZ LLC (CME), a subsidiary of Canon Europe. The formation of CCNA in 2016 was a strategic step that aimed to enhance Canon’s business within the Africa region – by strengthening Canon’s in-country presence and focus. CCNA also demonstrates Canon’s commitment to operating closer to its customers and meeting their demands in the rapidly evolving African market.
Canon has been represented in the African continent for more than 15 years through distributors and partners that have successfully built a solid customer base in the region. CCNA ensures the provision of high quality, technologically advanced products that meet the requirements of Africa’s rapidly evolving marketplace. With over 100 employees, CCNA manages sales and marketing activities across 44 countries in Africa.
Canon’s corporate philosophy is Kyosei (https://apo-opa.co/3SvVhrS) – ‘living and working together for the common good’. CCNA pursues sustainable business growth, focusing on reducing its own environmental impact and supporting customers to reduce theirs using Canon’s products, solutions and services. At Canon, we are pioneers, constantly redefining the world of imaging for the greater good. Through our technology and our spirit of innovation, we push the bounds of what is possible – helping us to see our world in ways we never have before. We help bring creativity to life, one image at a time. Because when we can see our world, we can transform it for the better.
For more information: www.Canon-CNA.com
