Magnum Photographers Alec Soth, Jim Goldberg, Susan Meiselas, Paolo Pellegrin, Mikhael Subotsky, and writer Ginger Strand are a bunch of friends going on a homespun adventure; a two week road trip, from May 11-26, across America. Rather than a super group on a stadium tour, the Postcards From America trip will be more in the spirit of a band going back to a small venue tour — a tour where they have to drive their own van and haul their own gear.
As the EF announced the latest round of photographers it would be supporting, LightBox spoke to Magnum Foundation President and photographer Susan Meiselas who heads up the EF, about its mission, and the challenges facing documentary photography today.
I can’t begin to tell you how excited I am about the new Magnum project, Postcards From America. This May, I’m going to be joining four other photographers (Jim Goldberg, Susan Meiselas…
This May, I’m going to be joining four other photographers (Jim Goldberg, Susan Meiselas, Chris Anderson, Mikhael Subotzky) and the writer Ginger Strand for a two week road trip from San Antonio to Oakland.
This is a unique project for Magnum. We are working collaboratively and are hoping to engage much more directly with our audience. At the beginning of the trip we will be doing a public event at the Harry Ransom Center in Austin. And at the end we’re going to do a pop-up exhibition somewhere in Oakland.
Carnival Strippers, 1973
Susan Meiselas in Conversation with David Campany
DAVID CAMPANY: Much of your work seems to be based very much on process, particularly more recent work such as the Kurdistan project and 'Encounters with the Dani'. Obviously w
I don't go in with a concept, the concept evolves and becomes self-evident at a certain moment in the process. In time one accumulates ideas of what's possible. With each of my projects I've come to the idea of what they should be in the midst of them. This has been so from early projects like 'Carnival Strippers' right up to 'Encounters with the Dani'. And of course very often, between shows and books, they have slightly different forms.
As for "new documentary," I find some of these approaches of interest, particularly the focus on a more distanced "aftermath," rather than "decisive" moments of engagement. I still feel the dividing line is when photographers re-enact, which is closer to the tradition of docudrama than reportage. Sometimes it is very effective but defining the difference is still important to me.
Extending the Frame: An Interview with Susan Meiselas (2006)
AMERICANSUBURB X: INTERVIEW: “Extending the Frame: An Interview with Susan Meiselas (2006)”:
Susan Meiselas has represented difficult issues with innovative approaches throughout her thirty-year career as a documentary media artist. Her awards include the Robert Capa Gold Medal (1979), the MacArthur Fellowship (1992), and the Hasselblad Prize (1994). A self-described “human rights” photographer and filmmaker, Meiselas works with the images, voices, and histories of everyday people in global situations of conflict. Whenever possible she has stayed in the affected communities after her photojournalist colleagues are pulled away to another story. This long-term approach allows her work to reflect the complexity of issues in a way rarely permitted by the news media.
photographylot: Susan Meiselas
Last week I went to the opening of the new shows at the ICP museum but as always with openings it was difficult to take in the work properly, so today I went back to check them out, specifically the Susan Meiselas retrospective. I call it that because there is work from the most famous projects of her almost 40 year career on the walls and the accompanying catalogue is a weighty tome featuring beautifully reproduced photographs, essays and interviews, pages from her published books and all manner of notes and clippings which cover a lot of the work she has done so far.
Magnum Photos – Susan Meiselas – Photography – New York Times
Susan Meiselas is looking a bit shaken. She has just heard that her trip to Guinea, scheduled to start the next day, has been canceled; her driver there has been assaulted and is fleeing the country. She is working with Human Rights Watch photographing child domestic workers, and clearly someone didn’t like it.
Her assignment was meant as a sequel to her photographs of Indonesian maids in Singapore last year. “It’s a strange thing to have your knapsack filled with film and cameras and be stopped on track,” she said.
She was in this southern French city to help commemorate the 60th anniversary of Magnum, the photographers’ agency she joined at 26. Some of her work, which covers a range that includes war in Nicaragua and sadomasochism in New York, is on display alongside that of her Magnum colleagues at the city’s annual photographic festival, Les Rencontres d’Arles.