The “giving back” aspect [of The Museum Project] was intended for all museums that have supported photography historically, and initially I was more interested in locating museums that appeared more prone to use the donated work — either university “teaching museums” or smaller museums with an active photography-exhibition calendar. […]
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@adcoleman@hcommons.social
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Most of us in the West — even Western Europeans — simply have no idea of what it has meant to be Eastern European in this century, for even those who lived there are only now able to acknowledge it. There’s a long period of reeducation ahead for all of us; and the paper trail we’ll have to follow is strewn not only with sheets bearing the written word but with photographs of all kinds, like these. […] [Shortly after the Berlin Wall came down in November 1989, the Musée de l’Elysée in Lausanne, Switzerland, then a relatively new museum specializing in photography, announced an ambitious plan to bring together the works of dozens of eastern European photographers in a massive group show the next summer. I’d met Charles-Henri Favrod, founding director of […] I took the assignment of writing this annual round-up of events in the photo world as an opportunity to create a time capsule of sorts for users of Collier’s Encyclopedia. I just came across the one that appeared 40 years ago in the 1975 edition of the Yearbook, synopsizing the year 1974 (and the last months of of 1973). Here it is. […] |
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All Greek to Me: APhF 2015
The diatribe of photographer and Magnum member Patrick Zachmann exemplified perfectly the knee-jerk defensiveness with which representatives of what I’ve come to call the Capa Consortium respond to any challenge to the Capa legend. One member of the audience asked me if I’d paid Zachmann to prove our point; I had to answer that he’d done so with no prompting from me. […]