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I began to develop an idea for an exhibition to focus on, or “foreground,” hand-painted backdrops from around the world used by itinerant and studio photographers in their portrait work. In addition, the photographs made by these photographers were to be displayed along with the backdrops. When I was coordinating the Exhibitions Program at Visual Studies Workshop (1987-1997) I was provided the freedom and encouragement to develop this idea. I began to more thoroughly research what I perceived to be a global, pervasive, but somewhat overlooked phenomenon in the history of photography; and the project grew and evolved. […]
If I had not have the support of the lab people at Polaroid I never would have been able to work as a fine-art photographer. I simply did not make enough money to work without that support. I remember dancing with joy when a package of film arrived in the mail. Sometimes they would send me a case of it at the end of the year when they had extra. These were not the heads of the art sections or the big advertising gurus who were in any way helping me. These were the guys in the labs who liked what I was doing and decided to support someone who was working at the edge of possibility using their material to do that. […]
To my surprise, I’ve ended up appreciating this film. It’s distant enough in time to take a measured, meditative look at this cultural moment. The Culture Wars constituted one of the rare moments in American history in which photographs and photography took center stage in the national consciousness. It was the medium’s most “teachable moment” to date. If I wanted to take a class of students back to that moment, to teach it myself again today some two decades down the line, I might well start with this movie. […]
The Polaroid Corporation gave away tons (literally) of free film to teachers, particularly those teaching kids in K-12 programs in schools and in after-school/alternative programs. The company also lent and often donated cameras (especially SX-70s) to such programs. They offered workshops for K-12 teachers in how to use photography (and especially instant photography) in teaching different subject areas within their curricula. They published a substantial workbook filled with ideas and assignments. . . . […]
We talk so much about what we’ve lost as a consequence of the shift from analog to digital in photography and the other lens-based media — almost exclusively it’s the down side that preoccupies us in that conversation. We need to balance that with thoughtful consideration of the benefits. This car crash in front of our house and its aftermath (including this post) represent the most trivial examples. But our record of it, and this internationally available communication about it, exist due to exactly the same cluster of enabling technologies as the one now driving Iran toward reconfiguration as a more open society. . . . […]
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SPJ Research Award 2014
Thought for the Day Ignorance is a condition; dumbness is a commitment.
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Digital Lens Culture: Incident I
We talk so much about what we’ve lost as a consequence of the shift from analog to digital in photography and the other lens-based media — almost exclusively it’s the down side that preoccupies us in that conversation. We need to balance that with thoughtful consideration of the benefits. This car crash in front of our house and its aftermath (including this post) represent the most trivial examples. But our record of it, and this internationally available communication about it, exist due to exactly the same cluster of enabling technologies as the one now driving Iran toward reconfiguration as a more open society. . . . […]