Having spent a lot of time with Mark Steinmetz’s books South East and Greater Atlanta, I was curious about the history and photographer behind the work. So I asked Mark for an interview, and much to my delight he agreed to it.
Category: Interviews
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Interview: Christopher Morris talks about his videos of the American presidents | dvafoto
You probably already know Christopher Morris‘ work. One of the founding members of VII, his conflict photography is unparalleled and his recent work on American politics, including the book “My America,” has redefined visual coverage of the White House. You might not know that Morris has been making videos in addition to his still coverage of American politics.
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Inside the Minds of Bill Stockland and Maureen Martel | RESOLVE
Stockland Martel, founded in 1980 by Maureen Martel and Bill Stockland, is one of the best-known and respected photo-representation agencies in the country. In this interview conducted by Kristina Feliciano, who runs the Stockland Martel blog, Bill and Maureen explain how they built their auspicious roster, which includes Nadav Kander, Timothy Greenfield-Sanders, and Doug Menuez, and what makes them decide to work with a new photographer.
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Lens Culture Conversations with Photographers: Simon Roberts
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On Assignment: Prayers in the Dark – Lens
On Assignment: Prayers in the Dark
Damon Winter of The New York Times arrived in Port-au-Prince on Wednesday. James Estrin spoke with him at midnight Thursday.
via Lens Blog: http://lens.blogs.nytimes.com/2010/01/15/assignment-19/
Damon Winter of The New York Times arrived in Port-au-Prince on Wednesday. He has been traveling through the city in a car shared with Ron Haviv of the VII photo agency and Timothy Fadek, both veteran conflict photographers. James Estrin spoke with Mr. Winter by cellphone at midnight Thursday.
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Ron Haviv in Haiti: “Silence and Submission” – Lens
On Assignment: “Silence and Submission”
Ron Haviv of the VII agency has been to Haiti at least 15 times. On arrival last week, he felt something new: the “overwhelming power of silence and submission.”
via Lens Blog: http://lens.blogs.nytimes.com/2010/01/19/assignment-21/
Each time is a different experience. I usually am here due to some major force; perhaps an election, a coup, an invasion, a natural disaster. So they are all different.
But here in Port-au-Prince, the feeling in the first few days was something I had never experienced before, an overwhelming power of silence and submission.
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AMERICANSUBURB X: INTERVIEW: "Interview with Walker Evans (1971)"
The following oral history transcript is the result of a tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971.
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Behind The New York Times Magazine's Redesign with DD Arem Duplessis – Grids
In June of this year, The New York Times unveiled a major redesign of their Sunday magazine, the first in almost a decade, and one of only a handful ever in its more than 100 years. Under the leadership of Design Director Arem Duplessis, a more lithe version of the magazine (smaller by about 9% in trim size) has been greeted with much appreciation around the design community for its subtle transitions of typography and color palette that exude new energy while staying true to the NYT Magazine everyone knows and loves
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AMERICANSUBURB X: INTERVIEW: "Monkeys Make the Problem More Difficult – A Collective Interview with Garry Winogrand" (1970)
Garry Winogrand (1928- ) spent two days in Rochester, New York, in October, 1970. On Friday, the 9th, he was the guest of the Rochester Institute of Technology. On Saturday, the 10th, he visited the Visual Studies Workshop, also in Rochester. The format was identical on both occasions: Winogrand, without comment, showed slides of his latest work and then answered questions from the student audiences. All in all, he talked for over five hours. The following transcript, edited from a tape recording of the proceedings, represents but one idea among the many ideas that were touched on
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Q&A: Mark Leong, Beijing
‘In any case, the subject was very fresh to me, exciting but also daunting because of the massive scale and steep learning curve (of which I’m still somewhere down near the foot). There has already been some good photo reportage on the trade, so when my editor Kathy Moran and I mapped out our coverage, we did our best to add new angles, looking at the loopholes of wholesale animal harvesting, captive breeding, and the exotic pet trade.
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AMERICAN SUBURB X: INTERVIEW: "Extending the Frame: An Interview with Susan Meiselas" (2006)
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.
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Week 56: Daniel Puissant
For as long as I can remember I have always noticed the small shifts in reality, things that don’t readily register as incongruous or shocking, but rather the things that make me smile or think about how people function. I would constantly tell whomever is standing next to me: did you see this? there, did you notice? It seemed I was living in a different world, seeing a different layer of reality, one some people never see, or ignore. Coming from the country of Magritte and Ensor has had a formative impact on my perception.
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Dossier Journal » Ryan McGinley Interview
This Thursday, Ryan McGinley will have his third solo show at Team Gallery. An exhibition of new work, Everybody Knows This Is Nowhere, will run from March 18 through April 17 and will be accompanied by a monograph published by Dashwood Book. David Strettell, the book’s publisher (also, of course, the owner of the New York’s only independent photography bookstore, Dashwood), spoke with Ryan for us to help us understand his segue from outdoor colors to black and white studio portraiture. Ryan also provided us with a preview of images from the new book.
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Idurre Alonso (Curator, MoLAA): In Conversation – The New York Photo Festival
IA: Since photography in Latin America encompasses all types of aesthetics including documentary, conceptual and experimental formats, among others, heterogeneity is probably its only unifying element. What is clear to me is that Latin American photography moves in multiple ways; in some instances the works reflect the contextual realities of their site production while in others they reference global issues. Certainly Latin American Photography today does have a multicultural character and moves beyond local artistic circuits.