What Coleman did for us, and certainly for myself as a future photo educator and curator, was to instruct us by example never to ignore the forces that propel the visibility and inclusion of certain photographers over others. […]
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Silloray’s work thus becomes the first book published since our research project began to reflect an awareness of the fruits of our labor. If our efforts can have that effect on a book intended for the general public, the demolition of the Capa D-Day myth has begun, and more serious, scholarly works will surely follow suit. […] Since being impressive to a non-knowledgeable audience is a natural consequence of her choice of style, tone, stance, and pace, one can presume that to be Sontag’s intent. Similarly, since to anyone with a background in photography Sontag’s grasp of the medium’s morphology is (to be charitable) shaky, and her ideas almost entirely received, one can equally presume that — except as an aggressive act — the book is not meant to be taken seriously by an audience versed in photography, visual art, or visual communication. […] Over the years, Paul collaborated with me to help make numerous photographs — some of my favorites … He enjoyed modeling. We had a 50-year-long conversation about photography’s evolution, craft, and odd politics. Neither of us had formally studied photography. We taught each other. […] |
 SPJ Research Award 2014 |