When we started out [in 1968], there was a hundred and thirty years of material by people who had something to say whom no one had listened to. Part of the excitement of photography is that hundred and forty years. I think if you isolate the last five years of photography and look at what’s been done, it’s not that much more exciting than what’s been done in painting or any other field. […]
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@adcoleman@hcommons.social
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You don’t have to deal with people you don’t admire. I have severed a lot of relationships with people whose behavior patterns and philosophies were not mine. I’m not saying that they were criminal, or wrong, or even unethical; they were just not on my ethical wavelength, and I could not deal with that. […] 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. […] Errol Sawyer’s mosaic city, built out of dozens of metropolitan fragments from various locales, does not resolve as a bleak or grim vision of the human condition. It feels alive, reasonably congenial, never malevolent, even inviting — evoking not only the loneliness that can lurk within urban existence but also that sense of solitude, welcome for some, paradoxically enhanced by the proximity of millions of other souls. […] |
 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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