On June 6, 2018, the aptly named website Artsy.net published “Photographer Robert Capa Risked It All to Capture D-Day — then Nearly All His Images Were Lost,” by Haley Weiss, under its “Visual Culture” rubric. It consists, in its entirety, of a rehash of the Capa D-Day myth, simply rewritten from one or more of the standard versions that our research project has thoroughly refuted. […]
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This marks the end of the eighth full calendar year for Photocritic International, which made its debut in June 2009. During the past 12-month period I’ve published 54 posts here (counting this one), averaging 4.5 per month. According to Google Analytics, as of midnight on December 31, 2017 this blog had served up almost 54,000 […] Two noteworthy facts about this blog’s readership: It’s roughly evenly divided by gender (46 percent female, 54 percent male), slightly over half of whom fall between the ages of 18 and 34. The latter demographic surprises and gratifies me, indicating as it does that the issues I address here, and my approaches to them, prove of interest to many people not of the geezer persuasion. […] Before and in between the Capa posts, the subjects addressed here this year included the graphic videos and still images of its horrific executions distributed by ISIS/ISIL; painters imitating photographs and photographers imitating paintings; the zombie apocalypse of the early months of the Republic Party’s battle royal for its presidential candidate 2016; the Athens Photo Festival 2015; the degradation of the post-secondary art-education system; the preservation of photographers’ archives; new technological developments in the world of the Internet of Things (IoT); the FHRITP meme; and divers other subjects. […] Unexpectedly, the dismantling of the myth of Robert Capa’s adventures on Omaha Beach on D-Day, June 6, 1944, and the subsequent fate of his negatives became the year’s main project at this blog. I also took up the collapsing market value of post-secondary degrees in studio art and photography; the willful, mindless destruction of an excellent example of such a program in Vevey, Switzerland, which I witnessed firsthand; the photographic strategies and style(s) of Shelby Lee Adams vs. his claim to documentarian status; and the insidious agenda of the “internet everwhere” tendency. […] |
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