Artist Barbara T. Smith, 92, gets her first museum retrospective, at the Institute of Contemporary Art, Los Angeles.
Move over, Barbie, it’s ‘the year of’ 92-year-old L.A. artist Barbara T. Smith
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A U.K. Researcher Has Unearthed the Original 19th-Century Photo Featured on an Iconic Led Zeppelin Album Cover
The cover of Led Zeppelin’s celebrated 1971 record depicts an elderly man, his back laden with a bundle of sticks. It is an image that is as evocative as it is enigmatic. Word is that the band’s Robert Plant and Jimmy Page found the photograph in an antique shop in Reading, England. But now, a researcher in Wiltshire has uncovered the original source of the image, in the pages of a late Victorian photograph album.
Brian Edwards, a visiting fellow at the University of the West of England, was conducting research for the Wiltshire Museum’s 2021 exhibition, “Ways of Seeing Wiltshire,” when he came across an album dated to 1892. Titled Reminiscences of a Visit to Shaftesbury, it contains images of black-and-white photographs of Wiltshire, Dorset, and Somerset, including architectural views, street scenes, and portraits of rural workers.
Ernest Howard Farmer, Reminiscences of a Visit to Shaftesbury (1892). Photo courtesy of the Wiltshire Museum.
One photograph stood out to Edwards—that of a bearded and bent figure hauling sticks—underneath which is handwritten “A Wiltshire Thatcher”. As a long-time Led Zeppelin fan, Edwards immediately linked the picture to the one on the cover of Led Zeppelin IV.
“I instantly recognized the man with the sticks. He’s often called the stick man,” Edwards told BBC Wiltshire. “It was quite a revelation.”
Handwriting research into the album has surfaced the photographer behind the images: Ernest Howard Farmer. He was the first head of the School of Photography at the Polytechnic Regent Street, which now forms part of the University of Westminster. His book of Reminiscences is inscribed, “A present to Auntie from Ernest.”
The man Farmer photographed has also been identified as Lot Long (1823–93), who was a widower residing in a small cottage in Shaftesbury Road, Mere, when the image was taken.
The inside pages of Ernest Howard Farmer’s album, including the photograph titled A Wiltshire Thatcher. Photo courtesy of the Wiltshire Museum.
For the sleeve of Led Zeppelin IV, Farmer’s image was hand-colored and framed against a wall of peeling papers. The record, which contains Led Zeppelin’s most beloved hit “Stairway to Heaven”, is one of the group’s many bestselling releases and was immortalized on a Royal Mail postage stamp in 2010. However, the whereabouts of the photograph that Plant and Page based their album cover on remains unknown.
“Led Zeppelin created the soundtrack that has accompanied me since my teenage years,” said Edwards in a statement, “so I really hope the discovery of this Victorian photograph pleases and entertains [band members] Robert, Jimmy, and John Paul.”
The cover of Led Zeppelin IV (1971). Photo courtesy of Atlantic Records.
The Wiltshire Museum has acquired Reminiscences and plans to include its images in an upcoming exhibition on Farmer, titled “The Wiltshire Thatcher: A Photographic Journey through Victorian Wessex.” The museum bills Farmer as a photographer who, though little-known today, “was a leading figure in the development of photography as an art form.”
“We will show how Farmer captured the spirit of people, villages and landscapes of Wiltshire and Dorset that were so much of a contrast to his life in London,” David Dawson, the museum’s director, told BBC Wiltshire. “It is fascinating to see how this theme of rural and urban contrasts was developed by Led Zeppelin and became the focus for this iconic album cover 70 years later.”
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The Essentials: How a New Show on Native Photography Centers Its Enduring Resonance Through 4 Key Works
Most of the pieces on view in the Minneapolis Institute of Art’s (MIA) new “In Our Hands” survey of Native photography from 1890 to now were lent directly by the artists who made them. That’s rare for museum shows like this one, which tend to rely on loans from public and private collections. Here, the condition speaks to a truth that goes beyond MIA: few institutions, if any, have a substantial collection of this kind of work.
“In Our Hands” is not the first exhibition of Native photography, of course. Even if the show could somehow lay claim to such a title, it wouldn’t, explained Jaida Grey Eagle, an Oglala Lakota photographer who guest-organized the presentation alongside MIA’s in-house curators Ahlberg Yohe and Casey Riley.
“I don’t look at this as a beginning,” Grey Eagle said, alluding to the colonialist logic of racing to be the first to put a name on something. “I look at it as an acknowledgment. There have been many people who have dedicated their lives to this medium and I don’t ever want to erase their work.” The show, she went on, is about “honoring the knowledge that has been there and that museums have failed to support.”
View of the exhibition “In Our Hands: Native Photography, 1890 to Now” at the Minneapolis Institute of Art, October 22, 2023 – January 14, 2024. Courtesy of MIA.
If the exhibition’s lack of loans speaks to a broader issue, it also underlines one of its central themes: community. Early one, Ahlberg Yohe, Grey Eagle, and Riley assembled a Curatorial Council of 14 artists and academics, most of Native heritage, who developed the list of participating artists and weighed in on the language used to describe their work.
The group also shaped the show’s three sections, each conceived with an emphasis on the present tense, regardless of the historical work included. “A World of Relations” looks at Native cultures’ holistic—not anthropocentric—view of living things; “Always Leaders” recognizes longstanding indigenous efforts around issues such as human rights, sustainability, and land preservation; and “Always Present” celebrates Native photographers who have used their medium to convey the vitality of their cultures.
“’In Our Hands’ was structured through conversations with Indigenous artists and scholars from its inception, so there never were ‘outside’ voices. This was a project that grew organically from our conversations with the folks who became our Curatorial Council,” Riley explained in an email.
“Our reasons for this were simple: we knew that centering their voices would be paramount in correcting historical narratives that erased Native people’s expertise. This project is built upon the work of people who came before us, who have been doing this work for a long time and should be the focus of scholarship from here on.”
Nadya Kwandibens, Tee Lyn Duke (née Copenace) Toronto, ON, March (2010). Courtesy of the artist and Red Works Photography.
Advisory committees like this have become increasingly common in recent years as museum workers grapple with the question of how to communicate cultural experiences beyond their own. That same question is what first drew Grey Eagle to photography as a reservation kid in South Dakota; it’s what pushed her to help develop the MIA show too.
“Growing up, I experienced a lot of journalists coming in,” she said, referring to her home community in South Dakota. “These were journalists flying across oceans to tell our story. As I got older, I started to notice that the articles that were coming out about my home community failed to encompass the entire story. They were always coming in to talk about strife. They never seemed to talk about why.”
To introduce readers to “In Our Hands,” Grey Eagle picked out several representative works to highlight.
Benjamin Alfred Haldane, Self-portrait in Studio in Metlakatla (c. 1919–20)
Benjamin A. Haldane, Self-portrait in Studio in Metlakatla (c. 1919–20). Courtesy of MIA.
Just the Facts: A foundational figure among Native and First Nation photographers, Benjamin Alfred Haldane made studio portraits of members of his Tsimshian community in Alaska at the turn of the 20th century. He often filled the frame with props that represented his subjects—an approach that imbued his work with a semiotic charge. He took the same tact for this expertly composed self-portrait from 1919 or 1920.
Expert Insights: “He uses all of these props to represent himself—to say, ‘This is what I do in the community,’” said Grey Eagle. “But on his arm, he has propped up a model totem pole, which is his clan crest—the wolf clan. The intentionality of choosing to connect his body to his heritage is so powerful to me. It’s such a rooted statement of who he is as a Tsimshian man.”
Faye HeavyShield, Clan (2020)
Installation view of Faye HeavyShield’s Clan (2020). Courtesy of MIA.
Just the Facts: One of the exhibition’s best-known artists, Faye HeavyShield makes sculptures, installations, and other artworks that are minimal in design, but broad in valence. At the core of what she does is the interrogation of the relationship—physical, spiritual—between land and body. HeavyShield was inspired to create Clan upon discovering a 1920s portrait of her grandmother. The work comprises a set of inkjet portraits, as well as a series of hanging canvas dresses.
Expert Insights: “She wanted to create this connection between her grandmother and her daughters and granddaughters that was beyond stories and memories,” Grey Eagle said, in reference to the portrait that inspired the artist. “I love Faye’s work because it’s sculptural, but it moves. There’s a lot of tactility within the show…It’s a way that I see Native photographers using [the medium] in this really incredible new way.”
Eve-Lauryn LaFountain, You Are on Native Land (2020)
Eve-Lauryn LaFountain, You Are on Native Land: Niibidoon (Weave) (2020). Courtesy of the artist and MIA.
Just the Facts: As part of a recent series, Eve-Lauryn LaFountain scratched the phrase “You Are on Native Land” across strips of found film that she had woven together. The artist then sent her creations to collaborator Cody Edison, who in turn printed them as contact sheets. Now, these images are available for purchase as postcards, which are, according to the artists, meant to “act not as souvenirs of places from the sender, but rather as a reminder to the receiver that America was founded on the genocide and stolen lands of the Indigenous peoples of Turtle Island.” Proceeds from the project have been put toward supporting activists who were arrested in 2020 during a protest for the return of the Black Hills to the Lakota people. Three postcards hang in the “Always Leaders” section of the show.
Expert Insights: For LaFountain, You Are on Native Land extends beyond the postcards, Grey Eagle pointed out: “[LaFountain] would research the indigenous histories of each recipient’s address and write about the land that the postcards were going to.” The examples in the exhibition acknowledge the Dakota people, original caretakers of the land on which MIA sits, the curator added.
Jeremy Dennis, Door Prop (2018)
Jeremy Dennis, Door Prop (2018). Courtesy of the artist.
Just the Facts: In this moody photograph, a white woman cowers before an encroaching group of Native men, all dressed in stereotypic garb. The shot belongs to Dennis’s “Rise” series, which appropriates horror movie motifs as a way of reframing America’s colonization, displacement, and genocide of Native peoples.
Expert Insights: With Door Prop, Dennis reanimates “classic zombie movie aesthetics but replaces zombies with Native Americans,” Grey Eagle said. “He does that to frame white people’s fear of Native American people as this manifestation of [their own] wrongdoing. In his imagined uprising, Native people cannot be ignored. Their presence has to be acknowledged.”
Fittingly, Dennis’s artwork lives in “Always Present,” the exhibition’s last section. “I love that we leave on that,” Grey Eagle added. “When people talk about Native people, they always use past tense language. I hate that we have to say, ‘We’re still here,’ because we’ve always been here and we’re always going to be here.”
“In Our Hands: Native Photography, 1890 to Now” is on view through January 14, 2024 at the Minneapolis Institute of Art.
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Is Micro Four Thirds Useful for Landscape Photography?
When it comes to landscape photography, there are generally three sensor sizes: APS-C, full frame, and medium format, but even smaller than APS-C is micro four thirds. In a genre that often requires significant physical exertion, such portable cameras can be quite attractive, but can those especially small sensors keep up with the demands of professionals and enthusiasts? This great video takes a look.
Coming to you from Jason Friend Photography, this interesting video takes a look at using micro four thirds cameras and lenses for landscape photography. Traditionally, photographers opt for as large a sensor as possible given their needs and budget, but the advancements in modern sensor technology have broken this paradigm a bit, allowing creatives to prioritize other things as well, such as portability and features. And those two categories are where micro four thirds often shines, with its very small size allowing photographers to carry a bag of equipment with ease. Furthermore, many micro four thirds cameras have some of the most innovative features on the market, which is part of the reason it maintains such a fiercely loyal fan base. And, of course, there are typically much more affordable. Check out the video above for the full rundown from Friend.
Israel berates New York Times, CNN, Reuters, AP over Hamas attack photographers
Israel on Thursday slammed four international media outlets — the New York Times, CNN, the Associated Press and Reuters — over the conduct of four photojournalists in Gaza, saying they had advance knowledge of the attack by Hamas militants on October 7 that killed more than 1,400 people.
The news services strongly rejected the Israeli government’s accusation they had any forewarning of the impending murderous assault, with the New York Times saying the “outrageous” charges endangered journalists in both Israel and Gaza.
Communications Minister Shlomo Karhi accused the foreign media of employing contributors who were tipped off on the Hamas attacks. “It has come to our attention that certain individuals within your organization, including photographers and others, had prior knowledge of these horrific actions and may have maintained a troubling connection with the perpetrators,” he wrote on X.
The Israeli government’s press office director, Nitzan Chen, wrote to the four organizations’ bureau chiefs in Israel asking for clarifications regarding the behavior of four photographers amid the assault by Hamas militants.
Israel’s letter, which was seen by POLITICO, accused the photojournalists who worked with the publications of arriving at Israel’s border “alongside Hamas terrorists, documenting the murder of Israeli civilians, lynching of soldier and kidnappings to Gaza” and sought a response on the “disturbing findings” published Wednesday by a pro-Israel non-governmental organization.
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Israel’s request for clarification followed a report by Honest Reporting. The most serious question posed by the NGO was whether the photographers had a heads-up that the attack was being planned so were ready on the Saturday morning in order to track the Hamas militants at close range.
The office of Israeli Prime Minister Benjamin Netanyahu went further over the question of whether reporters should have chronicled the crimes rather than trying to stop them, saying the journalists were “accomplices in crimes against humanity.” Israeli centrist leader Benny Gantz, a member of Netanyahu’s war cabinet, said journalists who were on the scene of the massacre but “still chose to stand as idle bystanders while children were slaughtered — are no different than terrorists and should be treated as such.”
The NGO’s report said two of the four photojournalists whose names first appeared under AP’s photo credits were also working as freelancers for CNN and the New York Times. Reuters published pictures from two other photojournalists who were also at the border as Hamas’ infiltration began.
On Thursday, the Israeli government’s press office published a statement on X accusing the four photographers of crossing “every professional and moral red line” for breaking through the border fence into Israel with the militants, filming the murder of civilians, the abuse of bodies, and the abduction of men and women.
Media hit back
Later on Thursday, Reuters, AP and The New York Times issued statements denying having had any prior knowledge of the October 7 attacks.
Reuters specifically hit back at the notion that it effectively had an embedded photojournalist with Hamas. It said it acquired photos from “two Gaza-based freelance photographers who were at the border on the morning of Oct. 7,” and that the agency didn’t have a prior relationship with either of them.
“The photographs published by Reuters were taken two hours after Hamas fired rockets across southern Israel and more than 45 minutes after Israel said gunmen had crossed the border,” Reuters added, saying its staff journalists “were not on the ground at the locations referred to in the Honest Reporting article.”
AP said that it “had no knowledge of the Oct. 7 attacks before they happened. The first pictures AP received from any freelancer show they were taken more than an hour after the attacks began. No AP staff were at the border at the time of the attacks, nor did any AP staffer cross the border at any time.
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It added that the agency is “no longer working with Hassan Eslaiah,” one of the photographers named in the report, “who had been an occasional freelancer for AP and other international news organizations in Gaza.” Honest Reporting’s report has a picture of Eslaiah smiling as he is kissed by Hamas leader Yahya Sinwar.
The New York Times described the accusations as “untrue” and “outrageous,” as they put “journalists on the ground in Israel and Gaza at risk.” It also criticized Honest Reporting for making “vague allegations against several freelance photojournalists working in Gaza, including Yousef Masoud,” clarifying that Masoud “was not working for The Times on the day of the attack,” but had done “important work” for the publication.
CNN has not issued any statement on the report. It was, however, cited by the Israeli Ynet network saying that it had cut ties with Eslaiah.
“We are aware of the article and photo concerning Hassan Eslaiah, a freelance photojournalist who has worked with a number of international and Israeli outlets,” a CNN spokesperson was quoted as saying by Ynet. “While we have not at this time found reason to doubt the journalistic accuracy of the work he has done for us, we have decided to suspend all ties with him.”
Local author, friends create magazine
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CCU professors bring forth the harsh realities of homelessness through photography
CONWAY, S.C. (WPDE) — Two Coastal Carolina University professors are bringing light to the struggles of the local homeless population, and it’s all thanks to a disposable camera.
Dr. Sara Brallier and Dr. Stephanie Southworth have been researching homelessness in Horry County for the past seven years.
Now they’re trying to bring awareness to the troubles of the homeless community by elevating their perspective.
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The professors interviewed more than 400 homeless people one-on-one, as part of what they call the Community Change Initiative.
This spring, they turned to focus groups, where about 40 people were given disposable cameras.
The results were then turned into the Photovoice Photo Exhibit, a 32-panel exhibit that travels all over Horry County shedding light on the challenges our local homeless population faces in their everyday lives.
They go around, and they photograph their lives. Things that they want the community to know about the experience of homelessness. And then they return it to a location that we’ve agreed upon,” said Sara Brallier, Professor of Sociology at CCU. She added, “Then we meet with them again and ask them to pick which photo they like the best and give us a quote about it.
Some of the quotes are touching like this one about a man and his dogs.
I have dogs, I had them before I became homeless. The shelter won’t let my dogs come in so I stay out here. I cannot lose them too.
“The man with the dog actually sat out a hurricane in his tent because he wouldn’t find a place that would take him and his dogs,” said Dr. Stephanie Southworth an Assistant Professor of Sociology at CCU.
Other photos in the exhibit are almost poetic.
This is the long road. I just follow the tracks
The results from these photos and years of research have been eye-opening.
“People are walking around all night long because if they stop, they’ll get arrested. It’s illegal to sleep just about anywhere in Myrtle Beach or Conway. Some people were telling us stories about how they are walking and walking, and they are just exhausted,” said Dr. Southworth.
When they asked one man for a quote, he was simply too exhausted from walking.
All he had to say was this:
I’m too hot. I just can’t.
The research they’re finding is also breaking down stereotypes.
“The surprising thing, over the last seven years, is that most of the people that we talk to have an income. They either have an income from jobs, social security, or disability, or they just don’t have enough money for rent,” said Dr. Southworth.
This picture and quote say it all.
This is home. This is where I live.
The professors hope these pictures and their research will help make changes in both people’s perspectives and in public policy toward homelessness.
These are not individuals making bad decisions,” Dr. Bralier said. “These are folks facing structural problems like lack of affordable housing, lack of affordable transportation, lack of health care, lack of mental health care.
“Almost everybody we’ve talked to is doing everything they can to get out of their situation. There have only been two people, I think out of 400 that had given up. But those two people, they had tried for so long and failed for so long, that they just said forget it this is my life now,” said Dr. Southworth.
The professors have done numerous homeless outreach programs and even wrote a book on homelessness called, Homelessness in the 21st Century – Living the Impossible American Dream.
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After this project, they plan to work on opening a community resource center where people can have a one-stop shop for all the resources they might need. Things like mental health care, affordable housing resources, and identification replacement.
The Photovoice Photo Exhibit will be at Fresh Brewed Coffee in Downtown Myrtle Beach starting Saturday.
It will be there for a week. The exhibit is also available online.
Native American Heritage Month: Reflection by Indigo Fox Tree McGrath
This piece originally appeared in the Superintendent’s Update by Superintendent Cliff Chuang on Thursday, Nov. 9. Please find this week’s full issue of Superintendent’s Update and back issues at bedfordps.org.
Reflection by Indigo Fox Tree McGrath:
My family grew up in Bedford. There were the five Fox Tree-McGrath children. We were very well known for our long last names and also as the “Native American family that did the drumming at school every year.”
My mother was determined to share and educate others about our culture back when we were going through Bedford Public Schools, as she is now through her various social justice work. We are Indigenous to what is now known as “the Americas,” but from the Caribbean, not the United States. Growing up here, though, people just said, “Native American,” but now they say, “Indigenous.”
Growing up multi-racial was hard for me due to the fact I am white passing and I felt like I had to prove my authenticity as an Indigenous person to everyone. I was relentlessly asked questions such as, “But, what are you reeeeaally?” Once I said, “I am Native American,” those questions became stereotypical and personal: “Do you get to college for free? How much Native are you? Do you do this dancing as a hobby?”
It would only be when people saw my mother or grandfather that I would get the “OOOOHH, you are Native…” Or “No way! THAT is your mother (or grandfather).” This was from both peers and teachers.
My own words were not enough and I was constantly questioned. Questions were related to stereotypes because most people know so little about the history of the country where they live that they make a lot of assumptions. We don’t ask someone how much Jewish or Christian they are, but everyone wants to know how much “native” someone is, and that’s a personal and inappropriate question.
Then I found art. Art was a huge outlet for me to express my identity and struggle in a way that empowered me through what I was creating. I did not have that much access to art until high school, but my grandfather and mother were artists, so they always had supplies and encouraged art at home.
After a lot of encouragement and mentoring from my high school art teacher, Katie Sussman, I then realized I wanted to pursue art in college. I then went on to earn my degree in Studio Art while also playing college lacrosse at Framingham State University. I grew so much as a person and artist there. I found an awesome community in their Center for Inclusive Excellence who helped me feel more confident in being multi-racial and an activist on/off of campus.
My lacrosse team was amazing and helped me grow in my leadership skills. They also always supported me in my Native American presentations I did on campus and often joined me at my holidays and Pow Wows throughout my years there.
I then returned to Bedford as a Teaching Assistant and lacrosse coach as I was deciding on whether or not I wanted to pursue my Master’s degree in Art Education.
Eventually, I did pursue Art Education, and by 2022, I was serving as a long term substitute art teacher at the John Glenn Middle School for an entire year. During that first year, I had a variety of projects that I introduced with BIPOC (Black, Indigenous, People of Color) artists as inspiration. I felt I wanted to provide a diverse curriculum that reflected multiple students’ identities or at least start to think about how identity and art are related. I found that it made my students’ art feel more important to them. I even included a project for my eighth graders that was introduced with a lesson about the Equinoxes and the Solstices because those are the observances/holidays my family and I grew up celebrating.
Although I have recently moved on to teaching in another district, I still stay connected to the Bedford community by coaching high school girls’ lacrosse and middle school field hockey.
Thank you,
Indigo Fox Tree-McGrath
Bedford Public Schools, Student/Teacher, Alumni
Also in the Superintendent’s Update: “Coffee & Cocoa Chats with Cliff (CCCC)” talks with Superintendent Chuang are coming up. Sign up here: https://www.signupgenius.com/go/10C084BAEAE23A0FDC25-45785027-coffee#/
Here’s what’s happening in the Twin Cities this weekend
Painting, sculpture exhibit showing at HMA
HUNTINGTON Some of its finest works are on show at the Huntington Museum of Art, part of The Daywood Collection: Paintings and Sculptures.
