Salgado combines what Fred Ritchin calls a “stately lyricism” with an alertness to the drama embedded in the everydayness of hardscrabble subsistence, marginal survival and imminent death. […]
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The contrast between the world outside the hospital, where the physically well cannot find relief from emotional pain, and the world inside the second of Julio Mitchel’s “Two Wards,” is the photographer’s major point. It emerges from neither of these two essays separately; it is created by their combination. […] For all its good intentions, “Harlem On My Mind” is so predictable and perfect a statement of the white-liberal attitude as to be a grotesquely funny self-parody. […] Collage/assemblage as a medium seems simple, but in practice is quite complex. Mr. Beard has mastered it on many levels, from the tactile and visual to the intellectual and intuitive. Everything in these works becomes integral to them, retaining its own flavor and texture while also blending with the other ingredients, as in a perfectly made stew. […] What we’re offered instead is merely a set of pictures John Szarkowski likes — a comparative bagatelle … Such a misuse of power, prestige and influence is an effective if lamentable indication of why the Modern’s credibility and influence on the medium have waned so dramatically during the last decade of his tenure. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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