Neither the Musée de l’Elysée in Lausanne nor the Maison Européenne de la Photographie in Paris purchased the works deposited with them by Polaroid in the ’90s. Nor did Polaroid do so with the proviso that the institutions then needed to go find funds with which to acquire them. This adds to the accumulating evidence that, in the ’90s, Polaroid sought to find appropriate repositories for chunks of the collections as donations. […]
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Roy DeCarava’s work itself — and what I might call the situation of that work in the field of photography when I came to it in the late 1960s — presented me with some important challenges as a writer about photography, and a chance to define in public some fundamental principles of my own project as a critic and historian. Few people understand what such an opportunity means to a critic, and how rarely it comes along. […] I discovered that I’d awakened from my enforced Van Winkle-ish hiatus in a different country, politically speaking. When I took to my bed in December, national health care was a done deal, and Massachusetts was a blue state. Now an undistinguished faux-populist Republican, Scott Brown, represents the Bay State in the Senate, which bodes ill for anything beyond an eviscerated health-care bill dictated by the GOP, Big Pharma, and the insurance cartel. More significantly, when I crawled under the covers both federal and state laws prohibited corporations from making substantial contributions to political candidates, and Tom DeLay faced serious jail time for violating those laws. . . . […] This blog’s subscriber base has grown slowly but steadily since my first post of June 1, 2009. I’m grateful for the willingness of subscribers to stick with me as I develop my own approach to blogging, which falls somewhere between cultural journalism and critical essay-writing, a far cry from casual blogging and tweeting. […] |
 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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Random Bits #1
The real act of creative genius here resides in Jimmy Fallon’s recognition that somewhere inside “Pants on the Ground,” Larry Platt’s unimaginative, one-dimensional, condemnatory lyric, there lurked the potential of a classic Neil Young lament for one’s own youthful lack of self-awareness: introspective, elegiac, self-mocking. If you hadn’t heard Platt’s version, or learned of the hoopla surrounding it, and this came over the radio without you knowing it was Fallon’s, you’d think it was middle-period Neil Young himself. […]