As part of his work on the effects of foreclosures in America, Bruce Gilden recently traveled to Detroit, Michigan. What he found was a desolate landscape where the subprime mortgage crisis is the latest blow hitting the "troubled city" already on its way to collapse and insurrection.
From the rumors and whisperings that I have heard around Magnum Photographers and other Magnum agency folk, I know that Martin Parr is, for some- especially those of the more old-school-war-photojournalist set- a somewhat controversial figure. This is in part because of Magnum's roots in war photography, and also in part because of Parr's immense success and influence (though I always thought that if Elliot Erwitt was acceptable alongside the likes of Capa and Phillip Jones-Griffiths, then why not Parr; maybe his gravitational pull is moving Magnum unconsciously away from its war roots, but I find his photographic insights into the world to be no less revelatory than Jones-Griffiths work).
I think that it took me a little bit of time to really get into what Parr has been tryng to do with is work (my first exposure to Magnum as an entity was the 'degrees' book, and Parr's work really stuck out of that collection both for its subject matter and formal properties) but he is now one of my favorite photographers and a huge influence on my own work (though I am careful not to try and copy him- Parr is Parr and its futile to try to do what he does best). I find his best work to be that which is both fascinating and disgusting: like a social and cultural train wreck that you can't look away from. In some ways I think his work and Bruce Gilden's street-surprise portraits are two sides of the same coin.
Here is a short little piece from TateShots about Parr:
Some things that I saw, heard, felt, went to, or did recently (and maybe you should check out, too)
Victoire has put out an EP (A Door Into the Dark) over at eMusic. You can only get it at eMusic for now. Their review: The band's combination of chittering electronics, found sound and repetitive string and woodwind lines eloquently conjures how it feels to helplessly grope for words that don't exist to describe disquiet we can't place, how it feels to be left alone with only the colors of our own thoughts for company. ......................................................... Gomorrah, a new film (in the U.S. at least) by Matteo Garrone. This is playing at the IFC Center in New York. I think its been a hit there, so it may play in other cities. As well it should.
It is worth watching the film just to see some of the settings (like the ruined concrete ziggurat-like housing projects) and puzzle over them (there were so many times when I was pleasantly at a loss to grasp what was happening in the background of some scenes).
Go and see it if you can. If you need more prodding, here is the review that tipped me off to the film in the first place.
......................................................... David Byrne at Radio City Music Hall. I thought it was great: he's still got it, and Radio City is an incredible space (I am a sucker for red velvet walls and gold trim, and I don't like using "restrooms" - I prefer "Lounges").
From the rumors and whisperings that I have heard around Magnum Photographers and other Magnum agency folk, I know that Martin Parr is, for some- especially those of the more old-school-war-photojournalist set- a somewhat controversial figure. This is in part because of Magnum's roots in war photography, and also in part because of Parr's immense success and influence (though I always thought that if Elliot Erwitt was acceptable alongside the likes of Capa and Phillip Jones-Griffiths, then why not Parr; maybe his gravitational pull is moving Magnum unconsciously away from its war roots, but I find his photographic insights into the world to be no less revelatory than Jones-Griffiths work).
