Podcasts about Dorothea Lange

Host Casey Fatchett talks with alternative process photographer Britt Bradley, known professionally as Nitrate Fox, about wet plate collodion photography, the history and politics baked into a 170-year-old medium, and Bradley's self-published photo book Jamnesia, which documents the roller derby community in tintype. In this episode: Why Bradley chose a non-gender-specific artist name — and how it changed their exhibition acceptance rate Collodion's history as "a perpetual representation of the white male gaze," and how seating, standing, and exposure time shaped who was centered in 19th-century photographs How collodion's UV sensitivity affects the rendering of different skin tones Sharing copyright and physical plates with sitters as a way of redistributing power in the photographer/subject relationship The physical demands of wet plate: working within feet of a darkroom, racing the clock before a plate dries, and a 120-degree, quarter-mile sprint story from shooting on Fremont Street in Las Vegas What "truth" in photography really means — from treaty photographs to Dorothea Lange's contact sheets to Pete Souza's approach to documenting the White House Museum and archive access: how members of the public can actually request to view historic photographic collections Studio rules: "no negative self-talk" and "we always ask for consent" — and the story of photographing derby skater Aveda after her double mastectomy Why Bradley shoots roller derby "from the inside out" as a skater themself, rather than as an outside documentarian What three years, six states, 50+ leagues, and 500+ tintypes taught Bradley about derby community, care, and identity Embracing collodion's unpredictable artifacts as part of the story, not a flaw to eliminate Advice for anyone starting out in alternative process photography Episode Promos On1 Photo RAW - https://nerdyphotographer.com/recommends/on1 Nerdy Photographer Contract Templates - https://nerdyphotographer.com/product-category/contracts/ Siteground Web Hosting - https://siteground.com/go/nerdy Survey Monkey - https://get.surveymonkey.com/nerdy About My Guest Britt Bradley (Nitrate Fox) alternative process photographer and artist. Her work explores identity, empowerment, subculture, and personal narrative through hand-crafted photographic processes that bridge contemporary storytelling with 19th-century techniques. Bradley's work has been exhibited nationally and was recognized as a Photolucida Critical Mass Top 50 photographer and a LensCulture Critics' Choice selection. She is the author of Jamnesia, a monograph documenting the world of roller derby through Wet Plate Collodion. Website: nitratefox.com Instagram: https://instagram.com/Nitrate_Fox TikTok: https://tiktok.com/Nitrate_Fox Book: Jamnesia: The Alternative Art of Athleticism — self-published, limited edition, available now at nitratefox.com Follow the Nerdy Photographer Podcast: Instagram - https://instagram.com/thenerdyphoto Reddit - https://reddit.com/u/thenerdyphoto Threads - https://threads.com/thenerdyphoto Bluesky - https://bsky.app/profile/thenerdyphoto.bsky.social TikTok - https://tiktok.com/@thenerdyphoto About The Podcast The Nerdy Photographer Podcast is written and produced by Casey Fatchett. Casey is a professional photographer in the New York City / Northern New Jersey with more than 20 years of experience. He just wants to help people and make them laugh. You can view Casey's wedding work at https://fatchett.com or his non-wedding work at https://caseyfatchettphotography.com    If you have any questions or comments about this episode or any other episodes, OR if you would like to ask a photography related question or have ideas for a topic for a future episode, please reach out to us at https://nerdyphotographer.com/contact

En 2026, la France célèbre les 200 ans de la photographie. Ici, on célèbre les femmes que ces deux siècles ont oubliées.Dans cet épisode d'introduction, on remonte jusqu'en 1843, à Anna Atkins et son carnet d'algues bleues, le tout premier livre de l'histoire illustré par la photographie, et pourtant absent de la plupart des récits officiels. Une histoire qui pose, à elle seule, la question de toute cette nouvelle saison : combien de femmes ont disparu derrière l'objectif ?Tout le mois de septembre, cinq portraits vous attendent : Vivian Maier, la nourrice de Chicago qui a pris plus de cent mille photos sans jamais les montrer à personne; Dorothea Lange, l'œil de la Grande Dépression américaine; Lee Miller, mannequin devenue correspondante de guerre; Claude Cahun, pionnière de l'autoportrait et résistante sur l'île de Jersey; et Florestine Perrault Collins, photographe noire qui a dû se faire passer pour blanche pour apprendre un métier qu'elle exercera ensuite librement, au service de sa communauté.Un nouvel épisode chaque semaine, avec, pour chacun, l'article complet et les sources sur artaufeminin.fr.Abonnez-vous pour ne rien manquer, et si ce projet vous touche, une note cinq étoiles aide énormément à le faire connaître.⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ et ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ART au féminin le site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Soutenir ART au féminin ⁠⁠⁠⁠⁠⁠

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express, Host Miko Lee is going Beneath the Surface — with two incredible artists, Margaret Cho and Masaki Fujihata. Both artists have been working in their fields for decades. Margaret Cho — stand-up comedy, sitcom, filmmaking, writing. Masaki Fujihata — a pioneer in new media art.And here's what they have in common: they've both shifted with the times… but never lost their own voice. Their vision has stayed singular, even as the world around them changed. Listen in to APEX Express   Check out: BeHere / 1942: A New Lens on the Japanese American Incarceration at the Oakland Museum from Friday, September 18, 2026—Sunday, December 27, 2026 Masaki Fujihata website Choligarchy at Berkeley Rep, September 15-19th, 2026  Margaret Cho website Interweaving: Indo-Persian Exchanges Interweaving: Indo-Persian Exchanges at Oakland Asian Cultural Center, September 11, 2026 7pm Artists featured: arjun-verma.com www.pezhham.com  MazdakAlipour.com emanhashimi.com   Show Transcripts [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   [00:00:34] Miko Lee: Tonight on Apex Express, I'm going beneath the surface with two incredible artists, Margaret Cho and Masaki Fujihata. I'm your host, Miko Lee.   [00:00:57] These are two artists who've been working in their fields for decades. Margaret Cho, stand-up comedy, sitcom, filmmaking, writing, and Masaki Fujihata, a pioneer in new media art. And here's what they have in common. They've both shifted with the times, but they never lost their own voice. Their vision has stayed singular, even as the world around them have changed. So stick with me. First up, my conversation with Margaret Cho   [00:01:29] Welcome Margaret Cho to Apex Express.    [00:01:32] Margaret Cho: Thank you.    [00:01:34] Miko Lee: I wanna start with my question I ask most of my guests, which is who are your people and what legacy do you carry with you?    [00:01:41] Margaret Cho: I think my people are Asian American, my people are queer, my people are all ages, my people are progressive, my people have hope for the future. That's what I'm hoping. I think that's it, and that's who I am too.    [00:01:56] Miko Lee: Thank you. You started stand-up so young in this very Bay Area, and I think you started at age 14. I'm wondering what's your earliest childhood memory of being a performer?    [00:02:08] Margaret Cho: My earliest childhood memory of being a performer was I was actually a singer. I was a singer in a band of children, and I was probably maybe five years old. We were on a show on KTVU. I believe it was called Asia Now, and it was filming in the studio and I wouldn't stop waving at my mother, who was just off camera. And after the performance the band leaders asked me not to come back. Aw. I remember that because I could not stop waving at my mother and so I kept breaking that fourth wall. That was my first memories of performance.   [00:02:47] Miko Lee: And what did that feel like to you?    [00:02:50] Margaret Cho: I didn't really get the idea. I didn't really understand television exactly quite. I didn't understand why we were performing. I didn't understand why I couldn't say hi to my mother while I was performing. I didn't have a real comprehension of like even like rejection of what that meant or even performance or what that meant or television. So all these things that I come to learn about very well, rejection, performance, and television is my whole life. But back then I didn't understand the importance of all those things.    [00:03:22] Miko Lee: But there must've been some kind of zhuzh for you that you said, “Ooh, I wanna keep doing this,” right?    [00:03:28] Margaret Cho: Yeah, I think so. Much later though, you know, I did perform as a pianist. I was a classical pianist. I was also a ballet dancer. So those things required performance, which actually would make me really, really nervous, I think because in piano you're playing a classical piece. You're playing Beethoven, you're playing Mozart. So if you make a mistake, everybody's gonna know. Also with ballet you're choreographed and you're in as a troupe. If you're doing choreography with a bunch of other people- If you make a mistake, everybody's gonna know. But with comedy, mistakes are a little bit more of, something you can gloss over a bit. There's a little more control there, a little more room for chaos, which I absolutely need, I think, as a performer.   [00:04:22] Miko Lee: Mm, this is interesting. You've already described some of the different types of performance that you do, and you've also done so many things in your life. But I'm wondering if there is a type of art form that still makes you nervous.    [00:04:34] Margaret Cho: Music. I think playing an instrument in front of people, I think because when I was a child and would perform these recitals, I would be so nervous. There were a couple of times in recitals where I had to start over, you know? When you're, like, eight or nine years old and you make a mistake and have to start over, and this audience is, like, hundreds of people, it's, like, really mortifying. I still carry that. I play m- numerous instruments, and I really dread playing them in public. What helped me a little bit is busking, which I did quite a lot of over, over the years because when you're playing out on the street, there's a… I don't know. It's like people are not really paying attention to you, and therefore you're kind of in this divide of I'm in performance, but I'm also kind of not. So that helped. In general, I refrain nowadays from when I do music, I don't usually play my instrument along with the band. I usually just focus on singing. Even that is quite nerve-wracking. Singing and doing music still, even though I've been doing it really my whole life, there is something about it that, that quite, um… because when you're singing, you're actually also the instrument. So there's a bit of more required. That's why I always prefer comedy. Your quality of voice doesn't matter because the music you're making doesn't have to sound pleasing.    [00:05:59] Miko Lee: And when you were busking, what instrument were you playing?   [00:06:02] Margaret Cho: Guitar. Ah. So I would play guitar, sometimes a six-string banjo, sometime, I'd play all manner of sort of guitar-necked instruments, which can go from, guitar to mandolin to a cello that's, it has a guitar neck, so I can play- Ah that as well. So all those things, I cheat at everything 'cause I have a guitar neck.    [00:06:21] Miko Lee: I love that. The improv just comes out of you in all different ways, I guess.    [00:06:27] Margaret Cho: Yeah.   [00:06:27] Miko Lee: So you have been a path maker, rule breaker in so many aspects of your life, from comedy obviously, and producing and starring in the first Asian American TV show, actor, fashion maven, author, rapper, podcast host, and out and proud queer role model. I'm wondering, what's a career dream that you aspire to?    [00:06:46] Margaret Cho: Ooh, well, I wanna be an old lady crime show, like Murder She Wrote. I wanna just solve crimes. I love, like, a British crime show, like an old lady solving crime. Like a Prime Suspect, like a Helen Mirren. I love that kind of genre of television, and so I would love to mature in that 'cause, like, it's so interesting and also so rich and, I feel really drawn to it. So that's something that I haven't… I'm a participant in a lot of those types of shows. I'm on a show called Bull Trent, which is very much that, which is really cool. And then I've been on Law & Order, which is the ultimate, SVU is the ultimate sort of crime show. So I would love to engage in that genre more.   [00:07:31] Miko Lee: Ooh, are you developing that on your own?    [00:07:34] Margaret Cho: I'm not, but I am participating in lots of other people's versions of it. They're not out yet, so they will be coming, forthcoming.    [00:07:44] Miko Lee: Coming soon, and then your own version starring you. Yes. The- Yeah … modern Murder She Wrote. I would love it. In what town would this be? In San Francisco or in-    [00:07:53] Margaret Cho: Oh, San Francisco would be great. Yeah. San Francisco or, like, Marin.    [00:07:56] Miko Lee: Oh, God. That would be really funny.    [00:07:58] Margaret Cho: Sausalito. Sausalito would be so fun. You know, Napa Valley. You know, something, like, very, like, th- this community that looks very, like Saint Helena, like Calistoga, s- community that's very quaint and peaceful and, like, kind of like foodie oriented and, like, very, you, you know, you think very upscale, but actually there's a lot of dirty dealings going on underneath the surface.   [00:08:20] Miko Lee: The wine country Murder She Wrote.    [00:08:23] Margaret Cho: Yes, I love it.    [00:08:24] Miko Lee: I would watch that. That's fun. So you also have expressed your art in so many ways. Your body is filled with so many tattoos. I think you have over 70. Which of your tattoos evokes the strongest emotion for you?    [00:08:38] Margaret Cho: Well, right now I'm in this, like, trend only getting art from Korean artists, and these are guys. People from Korea who are tattooing now are really the best in the world. They are the state of the art. Like, their eye and their talent is just so innovative. There it's semi-illegal, so they do it under duress, you know, and they have to sort of do all these different things to do it. But their ability to just visualize things that are just, that seemed impossible, you know, these miracles on skin that they can do. The art now I'm really resonating with. There's an artist now that works exclusively in Dancheong, which is a kind of the color scheme of Korean temple art. And so all of his tattooing reflects that. And so I'm working on a very, very large piece on my leg that is, all Dancheong, which you know, for me, like having had lots of different kinds of tattoo, like I had sort of Japanese traditional and a lot of American traditional, and a lot of just kind of different kinds of art. Now to just really delve into the art of my ancestors is quite powerful, and by being done by very young, very skilled tattoo artists from Korea. You know, so I get to speak in Korean to them. We communicate in a language that is shared, that's ours, which is very different from the way that I've communicated with all of the other artists that I've had over my time as a tattooed person. So, um, yeah, tattooing for me, it's, it's all about Korea right now.    [00:10:21] Miko Lee: And what inspired your first tattoo?    [00:10:25] Margaret Cho: My first tattoo was done by Don Ed Hardy, who is a legendary Bay Area tattooer, also, an amazing guy and he was a friend of the employees of my father, who, my father owned Paperback Traffic, which is his gay bookstore just going in the 1970s. And so a lot of people were getting tattooed by Don Ed Hardy. They were getting full body suits in the '70s and '80s, and the, the, um, images, like, so on our refrigerator as a… When I was a child, my father would put up, um, the full body tattoos of these guys that worked for him. So that's what I would see every day. Instead of, like, our graded papers or, like, stuff that you usually have on a refrigerator, it was photographs of completely tattooed people. Um, and that really stayed with me. And so when I was ready to be tattooed, and this is, like, 2002, um, my father's employees and all of our, like, old friends took me down to see Don Ed Hardy, who was doing these body suits, and, he gave me my very, very first very large Japanese-inspired piece on my stomach and back. And that kind of started it off. I got the most painful, most difficult place in your body tattooed first, which is, like, basically your stomach, and your sternum, your chest. All those areas are really, like, those are the worst, and I got that over with. And so I realized, oh, I could actually keep on doing this. And I always knew that I would be heavily tattooed because of that.   [00:11:59] Miko Lee: So your first one you chose really big, not just like a small something. You got a really big one.    [00:12:03] Margaret Cho: Yeah.    [00:12:04] Miko Lee: Wow. Yeah. Just jump in, girl. Just jump in.    [00:12:07] Margaret Cho: Well, I just knew that was right, and I knew also this was probably, like, the only time that I would be able to get a very large piece from Don Ed Hardy, you know? Yeah. People know him, of course, from the clothing line- That's right … and the sort of Y2K influence. But he is so much more than that. His influence on tattooing is really significant. That was towards the end of his tattooing career. He didn't have many years where he kept doing it after, 'cause he explained to me that he absorbs the pain of people. Wow. And so he realized, like, that probably wasn't so good for him physically as he aged, I was really lucky to get what I got from him, which is a very, very large piece and a very important piece.   [00:12:51] Miko Lee: Amazing. And as you're talking about your childhood and growing up in the bookstore, it just makes me reflect on how your childhood was so unique and so interesting. Mm-hmm. And I'm wondering if today you were to make a television show about your childhood, how very different… With, with more artistic freedom. It would be so fun. It would be so fascinating. There's so many more streaming options than just the three networks that we grew up with. Yeah. So, what would that be like for you to do a TV show on your childhood now?    [00:13:23] Margaret Cho: I would love it. I mean, I would love to create that world, recreate that world, because, you know, we had the influence of, like, people who were doing a lot of very early body modification, meaning these full, full body tattoos, and, like, body piercing, which was such a different thing. I mean, in the 1970s we had the rise of Harvey Milk you know, and his assassination.    [00:13:44] Miko Lee: Mm-hmm.    [00:13:44] Margaret Cho: We also had the devastation of the People's Temple, which was all San Francisco people.    [00:13:50] Miko Lee: Yep, yep.    [00:13:51] Margaret Cho: It happened in Guyana, people don't realize this originated in San Francisco and came from there. All the people who died were San Franciscans, and Oakland, Bay Area people. This is our people. My parents actually rented the recently vacated People's Temple for my grandparents' 50th wedding anniversary. Wow. Like, crossing the police tape. To go in and have a Korean party, and then my mother's, “Lot of ghosts.” She saw all the ghosts.   [00:14:19] Miko Lee: Yeah, I'm sure.   [00:14:21] Margaret Cho: “Ghosts, ghosts, lot of ghosts. Well, ghosts don't really do anything. They just make food get cold very fast.” You know, like that kind of a thing. So it would be a great TV show, I think.    [00:14:32] Miko Lee: Ugh, I would watch that too. We're talking about your new show, Choligarchy, which is gonna be at Berkeley Rep, and I read that you said it brings you back to your roots as a political comedian. Can you share more about this?    [00:14:44] Margaret Cho: Well, I had the luxury of the Obama administration where I didn't feel like I had to fight so hard to be heard and seen as a queer Asian American woman, 'cause I worked on the Obama campaign, I worked on, getting people registered to vote in 2008 in Philadelphia. I worked on all these different things with Cal Penn in 2008 to assure a kind of future where we are gonna have something different, and then we did. And then so I got to spend about eight years where I could do dance, I could do music, I could kinda like drift into these other arenas of work that I hadn't been able to do because, before, had been, like, so much about fighting the Bush administration, so much about fighting what was going on. So now to be able to return to a thing that I'm very used to, like political commentary, where I'm really focused on using my voice to affect change and to create change, and it's really profound, you know? I love doing this show. It's got me thousands and thousands of death threats, which is also really terrifying and bizarre. I've always had a kind of very confrontational relationship with conservatives, but now it's escalated to the point of, like, oh, I actually do fear for my safety. But I think that it's worth it. The message is worth it, and I'm proud to do this show, and I'm very, very excited to bring it to very progressive Berkeley, which they're gonna hear it better than anyone. I do think Berkeley is even more progressive than San Francisco. So it's exciting.    [00:16:27] Miko Lee: Well, San Francisco is filled with tech bros now, so it's a very- Yeah … different vibe than when we were-   [00:16:32] Margaret Cho: That's right.   [00:16:32] Miko Lee: growing up. I'm wondering, I heard you say about how different it was during the Bush regime, which is actually relatively tame in retrospect compared to the fascistic times we're living in now. I'm wondering how different, now that you're going back to the kind of political roots, how different is it from that Bush time in your approach to your comedy?    [00:16:51] Margaret Cho: Well, Bush never descended into a cult. Bush never had the sort of magnetism as a person, to demand the cult-like sort of atmosphere that sort of exists now, where we have a leader who will gladly let all of his followers be on a decoy plane while he rushes away in a catering van. We think the decoy plane, that's really America. Like, the decoy– we are all, as a nation, on the decoy plane. He's happily content to let us all die to ensure his safety. It's like they're, and they're still gonna follow him after that. So that's a cult, you know? This is a different beast than we're dealing with just sort of patriotism or the idea of like xenophobia or the idea of wanting this kind of America that Bush wanted. Bush couldn't create that because he was not a cult leader, whereas now we have a bona fide cult and cult leader on a path to destruction.    [00:17:57] Miko Lee: So given this time that we're living in and how complicated it is, I'm wondering, especially as you're going on tour with this show, what brings you comfort and makes you feel connected to home when you're on tour or when you're away?   [00:18:10] Margaret Cho: Well, my dog is with me all the time, so that's really special. She'll be there at Berkeley. She's really, really amazing. I'm a big fan of social media. It's connecting with people on there, and people are encouraging me through there. There's a lot of points where I carry home with me. I'm also, at home on the road, because I've been traveling and performing for over 40 years, so it's a place that I feel a great deal of comfort in.    [00:18:35] Miko Lee: Because you mentioned social media, I'm just wondering, isn't that where the death threats are coming from, though, is social media? Or are you getting them in—   [00:18:42] Margaret Cho: Yes. But I'm also get, I get them on my phone. I get them, like they—   [00:18:45] Miko Lee: Oh, you, they- Yeah … find your cellphone and contact you—   [00:18:47] Margaret Cho: Yeah.   [00:18:48] Miko Lee: directly? Wow.    [00:18:49] Margaret Cho: Yeah, I get them, like, you know… I'm also concerned about, I've been doxxed, you know, they threatened to kill my dog, and I'm like, “She's white. She's one of you. Why would you kill her?” It's kind of funny.   [00:19:01] Miko Lee: But you don't respond to any of these folks, right?    [00:19:04] Margaret Cho: No, you can't, because you just don't know what… I always think about, like, Melissa Hortman. They killed her dog. I don't wanna be another example of, like, MAGA lunacy. When you speak out and you are a symbol of what they don't want. They don't want women, they don't want people of color talking. When you are that you're really in the line of fire. That's why traveling works for me, I get to be very, very stealth and hidden. Um, and that's kinda also why I travel so much, is to be stealth. Mm. I get so much encouragement from social media. I don't wanna cut myself off from it. But yeah, you have to be careful.    [00:19:42] Miko Lee: So you feel like that balance outweighs it?    [00:19:45] Margaret Cho: Yeah, for sure.   [00:19:45] Miko Lee: And I'm wondering if you think there's something that's misunderstood about you?    [00:19:49] Margaret Cho: When I'm talking and people don't like what I'm saying, they will say, “Oh, look at this has-been talking again.” And I'm like, “I'm not talking because I think I'm a celebrity. I'm talking because I am alive, and everybody who is alive has the right to speak.” I think this is really important. I don't talk because I feel like I have a responsibility to talk because I represent anything. No, I talk because we should all be talking. We should all have a voice. I don't have a sense of importance about myself or who I am or what I do. I think that everybody should be talking, and now we should all be talking because now we are all on that decoy plane, and he will leave us to die. So I'm going to say something about it. People have a myth about celebrity that somehow it involves our ego, and that's why we feel compelled to have a voice. But I think we should all have a voice no matter who we are.    [00:20:41] Miko Lee: I've heard you call yourself the patron saint of outsiders. Can you talk about what that means to you?    [00:20:47] Margaret Cho: I think for me it means to be able to have, my queerness front loaded, my Asianness front loaded, my gender front loaded, all these things that I want to be able to talk to those who feel like they don't feel represented by mainstream culture, by white supremacy. If you have felt rejected or even just not included by society at large, I wanna hear your voice. I wanna hear your opinion, and I wanna know you.    [00:21:15] Miko Lee: And last question, why should folks go and see Oligarchy at Berkeley Rep?    [00:21:20] Margaret Cho: Oh, it's Choligarchy.   [00:21:20] Miko Lee: Choligarchy.   [00:21:22] Margaret Cho: It's my nation. It's my dictatorship. In my dictatorship, we have universal healthcare. In my dictatorship, we have a universal living wage. If we actually made the billionaires pay their share, if we actually stopped supporting Israel and Argentina, other countries which I don't know why we give them so much money, but we do, if we stop doing that, we stop supporting the billionaires, if we stop giving corporations handouts, we could actually have a universal living wage where everybody in this nation would just be able to just live. We could just live because we are American. We could just live. And then your work could be what you really wanna do. That would be such an important change to the way that we exist as Americans. And we could do that if we actually stopped giving b- bailouts to corporations, actually made billionaires pay their share, and stopped giving money to countries that are not ours. That's what my platform is. That's what I run on, and that's what I plan to do.    [00:22:35] Miko Lee: And folk can find out more by going to see the show at Berkeley Rep, and we'll put a link in our show notes. Thank you so much, Margaret Cho, for joining us on Apex Express.    [00:22:45] Margaret Cho: Thank you.    [00:22:46] Miko Lee: Next up, get a preview of an upcoming unique performance at Oakland Asian Culture Center. Listen to Sawaal Jawaab    MUSIC   [00:24:01] Miko Lee: That was Sawal Jawab with Arjun Verma, Eman Hashimi, and Pezhham Akhavass in Interweaving: Indo-Persian Exchanges, a one-night-only performance on Friday, September 11th at the Oakland Asian Culture Center. The concert's a rare opportunity for Bay Area audiences to experience the interplay of some of Asia's richest classical music traditions from India, Iran, and Afghanistan. Next up, we hear from two voices, multimedia artist Masaki Fujihata and Carin Adams, senior curator at the Oakland Museum. Masaki Fujihata is a world-renowned sound, installation, interactive, and new media artist. He's also a professor at Keio University. His work has been shown all around the world, and now it's coming to the Oakland Museum, opening September 18th and running through the end of December. The piece is called BeHere / 1942, A New Lens on the Japanese American Incarceration, and it's a new augmented reality work. So tune in to my interview with Masaki and Carin Welcome to Apex Express, multimedia artist Masaki Fujihata and Carin Adams, senior curator at Oakland Museum.    [00:25:13] I'm so happy to have you both with me, and we're talking about the new exhibit BeHere / 1942: A New Lens on the Japanese American Incarceration, which opens at the Oakland Museum from Friday, September 18th to Sunday, December 27th. So thank you so much for joining me. I wanna start with a question I ask all of my guests. I'm gonna start first with you, Carin, and then I'll go to Masaki, and the question is, who are your people, and what legacy do you carry with you?    [00:25:53] Carin Adams: Oh, wow. I think there are lots of different facets of my family and who I think of as my people. Um, I think in, in this work in particular, I'm really, um, thinking a lot about my grandparents, my, my mother's parents, and, um, my mom, who's turning 91 in, um, October, and, um, her and her siblings' experience, um, being incarcerated in Tule Lake. So- Mm … that, I think has, has a lot to do with wh- why I'm here, and thank you so much for having me.    [00:26:36] Miko Lee: Mm-hmm. Thank you so much. And Masaki, what about you? Who are your people, and what legacy do you carry with you?    [00:26:43] Masaki Fujihata: Yeah, in my case, my, career started with the computer graphics long time ago in the '80s, so I came in, uh, Bay Area and, uh, West Coast quite frequently to join a big, uh, conference and so on. But then in '90s, I was very many times to be invited to be in Europe, so-called media art, i- is so dominant. So my curiosity is about the visual arts plus computer technology. Then nearly 10 years ago, I started to play with augmented reality. I recognized AR is a very good technology to put the history in actual moment. So the title Be Here 1942 means, I try to call the people in the past in the present. After one of my friend, the professor at UCLA invite me to be in Los Angeles, then we started to focus onto the Japanese Americans' history. That was the first, a kind of coincidence, but it was, very interesting to me because, I was born in Tokyo and grew up here in Tokyo, so usually I didn't think about who is a Japanese. [00:28:10] Along with this production, I studied a lot, not only the racial problems, but also the identity, , not only the personal identity, but also identity of Japanese and also American. It's really difficult to understand what's is the identity in the America because so many different people are living together and of course there are several conflicts. This is very good study for me, through the new media technology and, through the meeting with the people. Some of them really had, severe experience inside the camp. I never had a chance to think about these opportunities. Then I really want to recreate what had happened in the 1942. That was my point of view for this project.    [00:29:08] Miko Lee: I'm wondering when you were growing up in Japan, did you learn about the Japanese American incarceration?    [00:29:15] Masaki Fujihata: Maybe, maybe, but a tiny. Most of the young students just thought, oh, this is the history, not mine    [00:29:27] Miko Lee: And did you… Were there kibei that were there? Cause I know there were a lot of Japanese Americans that had been pushed out and repatriated to Japan. Did you grow up knowing any of those people?    [00:29:39] Masaki Fujihata: Mm, not, not really. Not really. Um, how can I say? Mm, maybe this is the education, the Japanese education. They didn't talk much about the history. The first part is an ancient moment, is very, very, you know, impressive. But, at the end of the term, so the modern age usually passing very, very fast.    [00:30:10] Miko Lee: Oh, interesting.    [00:30:11] Masaki Fujihata: Yeah, so n- not only about, history between America and Japan, but also China and Japan.   [00:30:18] Miko Lee: Mm-hmm.    [00:30:19] Masaki Fujihata: We have very few knowledge in, on the context of, uh, history education. I mean—   [00:30:24] Miko Lee: So sort of World War II- I mean- and forward? From World War II—   [00:30:27] Masaki Fujihata: Yeah, yeah …   [00:30:28] Miko Lee: You didn't really learn about it?   [00:30:28] Masaki Fujihata: Yeah, modern age. Modern age. I believe this is very big problem in the education.    [00:30:35] Miko Lee: That's so interesting. So the first that you really learned about the Japanese American incarceration was during, when you started this project at UCLA? Is that right?    [00:30:44] Masaki Fujihata: Yeah, yeah. I know something about the history in the US, but when I started to do research, there are many details, and every people's history is very, very different. So the textbook of the history is just the surface- So that's why I wanted to show more the detail through a new media technology.    [00:31:16] Miko Lee: I read a quote from you that said, “My aim was to peer deeply into photographs to derive from them more than was visible on the surface.” Can you talk a little bit more about what that means to you?   [00:31:29] Masaki Fujihata: Yes, because, I started to think about to focus on the moment when they ride the bus. So then, of course, I did some research to read some oral history, but, most of them didn't tell about the moment because I think this was just one hour or two hours for waiting. I suppose they usually don't want to remember, and also they thought that this is not important day, then they forgot.   [00:32:04] Miko Lee: What was it about the bus that you were curious about?    [00:32:08] Masaki Fujihata: We planned to realize our project, to think about the beginning. What is the beginning? There, there are quite many novels and writings about the life in the camp because of, of course, this is so heavy. Four years in the camp is unbelievable. According to my research, some people said they thought the war will ends in three months. But in there they spend in the camp, over four years. So of course, this is a heavy story and also while in the inside the camp. There are some conflict between the first generation, second generation or American side or Japanese side. The beginning is, of course, the Pearl Harbor raid, but, the bus, suddenly one day the bus came into your town and you were asked to ride the bus, and before riding they didn't tell them where they are going. So so if it happened now, how can we behave? So this is my question. This is the beginning, and they didn't know what will happen in the future. And then in parallel, I did some research to see the photographs because, there are many documentary photographs were in the archive, in National Archive, and also Library Congress. I tried to, see the photography, but as I said, when see the picture, you know, the detail is telling a different story, against the comment. The comment is just they are lining up for riding a bus or something, or Japanese American families get together and waiting. Of course they have some name card. At last I found through one of small girl's eye, there is a reflection of the photographer. But, not only the photographer, there are two, three, or four more people standing with the cameraman. Then, of course I understand they are all Caucasians. They are not Japanese American people. So for the little lady, for the little girl, when she was surrounded by, white officer, perhaps military police, she has nothing to do. But on the surface of the photography, she's smiling. So this contrast is the beginning. So this is a problem about media, visual media. So then I really want to share this experience with the other audiences through the exhibition. That was my intention.   [00:35:18] Miko Lee: And had you seen the photographs from Dorothea Lange and Russell Lee prior to working on this project?   [00:35:25] Masaki Fujihata: Of course, I know these names because they are very famous,, documentary photographer, the magazine Life started to publish from the year 1933, it was hit, so popular. I was really surprised because they did the job to make a document for Japanese Americans, and there is over 4,000 pictures left in the archive. I saw all of these so many times, so I can tell each picture. I can tell what is the difference, between the Dorothea and Russell Lee. So each photographer has, different characteristics. But I really surprised because, Dorothea Lange's photography is very different from others. And—   [00:36:18] Miko Lee: And the government didn't like them. They locked them away for years because they were too real.    [00:36:25] Masaki Fujihata: Yeah, and because, Dorothea's photography is always associated with the object inside the photography. She tried to understand who is she, who, who is—-    [00:36:38] Miko Lee: Mm-hmm …    [00:36:39] Masaki Fujihata: and try to have a good relationship with the object. Most of the photographer, like a press cameraman, it's just go there, “Hey, smile,” and shot is their, you know, way of business. But Dorothea's way is very different, so sometimes, I can tell she is always calculating the distance from her to the object. I enjoyed very much to have a chance to see all of these details. Of course, another luckiness because all of these photograph were shot by the government, then all of these are now public domain. Even me from Tokyo, I can see so many photographs with high resolution. I think those are made after year 2000 because of the technology came in. Then now they are supplying 3,000 by 4,000 pixels. That's why I could enlarge and to see the reflection on the girl's eye. It's a coincidence, but also it's the evolution of computer technology from analog photography. So this is also interesting part to share with the audience.   [00:38:01] Miko Lee: Thank you. Carin, I wonder if you could talk about what an audience will see when they come in to see the exhibit.    [00:38:08] Carin Adams: The exhibition is going to happen inside and outside the gallery. So if people are visiting the museum coming up through our entrance on Oak Street, they will have an opportunity to enter the augmented reality application that Masaki has designed where they're, standing there grounded in, the architecture of the Oakland Museum. But they're also seeing people, dressed as if they were in 1942, waiting with their belongings and their family members. They'll be able to see the buses that lined up on Oak Street in '42. There was a civil control station that was across the street, and Dorothea Lange took some very famous photographs of people waiting with their belongings in front of their houses that, on the museum side of the street. Masaki has adapted the augmented reality that he first developed for Los Angeles for Oakland. So people on entrance onto our campus will have that experience, and then if they come into the gallery, then they'll really be entering into the gaze of these eyes. They'll be surrounded by very high resolution images that Masaki has blown up, to mural size. You're forced to encounter the people that were reflected in the eyes of the subjects that Lange photographed.    [00:39:45] Miko Lee: Thank you, and I know that in the collection, you've had these Dorothea photos for a long time, right, in the Oakland Museum's—   [00:39:53] Carin Adams: Yeah. The Oakland Museum is the holder of the Dorothea Lange archive, including some of her images of the incarceration. The Bancroft Library also has extensive holdings of her work and material , related to this history. And of course, Masaki did lots of research in the National Archive and Library of Congress.   [00:40:16] Miko Lee: Masaki, I know this is the second version of the show since you have opened it first at JAMM and at UC, with UCLA. Yeah. What was it like for you to recreate it for the Oakland Museum? How has that experience been?   [00:40:30] Masaki Fujihata: I'm very, very lucky to find OMCA. Mm-hmm. We started to think about the production in OMCA. I made a research through, of course Dorothy Lang's photography. Then there is a number of the street, 1117 Oak Street is the place where people apply their address and family name. The Civil Control Station is that address. I was very surprised because this is a street in front of the museum, and actually the other side of the street was the Civil Control Station where the bus came in. So this is exact place I really wanted to put my augmented reality models. So I was very shocked because I never think about the museum is a real place.   [00:41:24] Miko Lee: So it's truly a place-based piece of art because that is the history coming alive in that very spot.    [00:41:31] Masaki Fujihata: Yes. Yeah. So, all the projects start from the realization of augmented reality.    [00:41:39] Miko Lee: Mm-hmm.    [00:41:40] Masaki Fujihata: So augmented reality is a kind of tech term, but augmentation is adding some information rather than the first wa- surface or rather than the display. In this case, we are putting the happenings in the 1942 in present, and then try to make a contrast between now and the past. The exhibition inside the gallery is showing a kind of process of the research to make this augmented reality piece because for making the 3D model data, we invite many volunteers into a special studio. I have to direct them. I have to prepare some scenario for them. In some cases, you are the university students. Coincidentally, you met the professor, while waiting for the bus. This is a fiction I made. When I need to make a scenario, I really need a research what is possible, what is not possible. So then the photography help me a lot to make a small scenario.    [00:43:01] Miko Lee: How many volunteers worked with you on this?    [00:43:04] Masaki Fujihata: I think totally 64 volunteers.    [00:43:08] Miko Lee: Wow. That is amazing.    [00:43:10] Masaki Fujihata: Each one was asked to walking towards the point where the bus would come, and then the second part is waiting, and then the third part is just lining up for the bus. So there is three different scenario. Then each person appears three times. Then totally you will see nearly 200 people.    [00:43:37] Miko Lee: Wow. And I understand that you use, in order to utilize the AR, you use cameras that kind of replicate those used during the incarceration, and I'm wondering what made you decide to choose that?   [00:43:53] Masaki Fujihata: So I try to know the core idea of each technology, because the technology is usually used for capitalism. My manifest is liberate technology from capitalism. So technology has another dimension, not only for serving for the capitalism to make money for your life more rational, but the technology also can give you a chance, who are you? What is life? What is the world? So I really want to use the technology another dimension of the technology usually used by the companies, and capitalism. In this case, this project is really good because very nice photography was left in the archive. But imagine in the 1942, photography was a high technology. Very few technicians or rich people could have the camera. Now so popular everybody has a camera inside their mobile phone, but it was high tech. And now augmented reality is somehow popular technology, but no one didn't use the AR technology to think about what we are doing as an art. So I wanted to use augmented reality to, to think about what is our life    [00:45:32] Miko Lee: Ooh, that is so interesting. I really appreciate that. And I'm wondering because you've seen audiences go through the first exhibit, I'm wondering if anything surprised you by audiences that have seen it and what, what you'd like people to walk away with after going to your installation.    [00:45:51] Masaki Fujihata: I was really surprised because this was my first case the audience had a tear. So after they saw the augmented reality, some of the person said, “Masaki,” I suppose, she suppose that, “Perhaps my grandfather was here.” Could feel the same impression or imagine, she could imagine what had happened on her grandfather So it's a bit like a cinema, but there is no written story, so each person can explore the images through a tablet. But, uh, maybe five minutes later, uh, the user will feel inside the scene. So In another words, I can say you are going to feel you are inside a cinema studio. You will be captured by the camera. And also another, okay, another interesting aspect because, I could develop this project because the photographs were left made by Dorothy and other people, uh, professional documentary photographer made these photography. So photography was left. And then, um, while you are using iPad in the entrance plaza of, Oakland Museum, you will see many Japanese people wearing the costume and, waiting for the bus. But now you are the cameraman. You believe you are seeing what had happened through the display, but, imagine for them inside the image were looked by you. So this is the viewer you are going to see, but also from them, from the object, you are the cameraman.   [00:48:04] Miko Lee: So you want people to feel both sides, both being the watcher but also in it—   [00:48:09] Masaki Fujihata: Yeah.   [00:48:10] Miko Lee: Immersed in the experience.    [00:48:11] Masaki Fujihata: Yeah, hunter.    [00:48:13] Miko Lee: Mm.    [00:48:13] Masaki Fujihata: Image hunter, yeah.    [00:48:15] Miko Lee: Image hunter, mm. I, I feel like you're saying utilizing technology as a tool for your emotions as opposed to a capitalistic gain. I'm wondering if you're working with AI at all, and your thoughts about it. Because you've really been on the forefront of so much multimedia since the '80s and I'm just wondering now people are just talking about AI and the impact of artists  and I wonder what your thoughts are about that.   [00:48:39] Masaki Fujihata: I, I think, uh, it's too early to, uh, work with AI as an artist because, uh, e- even the developer of, uh, AI didn't know what happened inside, so it's a black- totally black box. So that's interesting part of AI. Uh, maybe you know some, some story about this. Very recently, uh, the AI ju- just hack the connection, then they escape from the inside the laboratory to go outside the internet. So this could happen. Uh, that's why, because a human couldn't imagine. So the AI doing something different, and it's really a black box. Then, uh, that's interesting point. If I can be inside the development company as an artist, I can make something interesting hacking software, but it's a huge business, and, uh, I think this is not the moment for the artist. And also, as you know, all the data inside the AI is, uh, happenings in the past.    [00:50:02] Miko Lee: Right.    [00:50:04] Masaki Fujihata: And then, right, the present is important for the humans. What is the role of the artist? There is some, uh, sentence, artist is the person who is creating something new which has not exist before. so, uh, we are not AI, so w-we have to know who, what we should do in contrast to AI is the important moment    [00:50:37] Miko Lee: Thank you so much. I wonder if you would want to just reflect briefly on how this, this piece that you're presenting at Oakland Museum is very resonant right now in America because of the current politics of incarceration of peoples and you know, we're at the same, at the exact same concentration camps where Japanese Americans were held. Immigrants are being detained and put there right now. I'm wondering how this piece speaks to the moment that we're living in in the United States right now.   [00:51:13] Masaki Fujihata: Um, please do not make more mistakes that American government did before in 1942. So Our project can be a kind of reference what the American government did after the Pearl Harbor.    [00:51:39] Carin Adams: Masaki, would you wanna talk a little bit about the new piece that you're making?    [00:51:45] Masaki Fujihata: Oh, I see, I see. I think- That's a good idea. I, I totally forgot. Yeah. Thank you, Carin. Because I proposed to Carin and museum about to make a new piece. The idea is about, uh, the poster. The, that they… So the, in Okura case, maybe, uh, to l- late April in 1942, the poster paste on anywhere, everywhere inside the town, and talking about the, at the certain day, you cannot be stay here. You will be criminal. So, so this is the s- starting point. Then they need to come to the civil control station to sign up, and then one week later, the bus came in, then they need to go to the camp. Then the poster is now very famous, but, uh, usually, people didn't read it Then I, I asked to, collect volunteers to ask read this text on the poster, uh, several different locations inside the Oakland. So when you see the final result, the view of the people reading the text aloud is very peaceful, very bright, California sunshine and there is a lake behind and sometimes, you know, the buses came and stop and go there. So this is very peaceful, but the content is very strong- strongly contrast- co- contrasted. So it's a command from the government. I really wanted to, to make this contrast through this new production. So you, you will see three vertical monitors, and, 25 different group of people. I think there was nearly 45 people helped me to realize this   [00:54:02] Miko Lee: What is it you hope to evoke by adding this new piece of the relocation poster?   [00:54:08] Masaki Fujihata: I really wanted to involve some of the young generation and family and also, known Japanese American people. So all of these people, of course, have some fear against the, this moment, and then try to, uh, send messages. So they helped me to realize this.   [00:54:39] Carin Adams: The video is really going to provide the soundtrack for the exhibition. There is no sound in any of the other film elements or in the AR other than what visitors bring in conversation into the space. But they'll be able to hear the local volunteers that Masaki assembled reading the exclusion order text and we're expecting that to be very profound- impactful. And yes, some of the people who volunteered for this new video element were incarcerated themselves, others are descendants, and then there are just people who are representing different immigrant experiences who wanted to participate. So it's a very local production, and it really cites us in the present moment with this really chilling text from the past.    [00:55:33] Miko Lee: Thank you so much for joining me and chatting with me about the exhibit BeHere / 1942. I'm really excited to check it out, and I hope our audience gets a chance to go and see it all the way through the end of December at Oakland Museum.   [00:55:48] Carin Adams: Thank you so much for having us.    [00:55:50] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 9.3.26 – Beneath the Surface with Margaret Cho & Masaki Fujihata appeared first on KPFA.

Here's a Thought… #2715 with Brooks Jensen The Power of Titles Titles have such power to steer the viewer in directions we intend. I've often used the example of Dorothea Lange's famous image, Migrant Mother. What if that image was instead titled, Waiting for the Return of the Soldier, for example? What if Weston's Pepper #30 was titled, The Last Pepper, or perhaps, Tina? Words change perceptions, sometimes with a nudge, sometimes with a sledgehammer. A title, even if it is only one word, can make all the difference in how the viewer sees your image. Become a member of LensWork Online and have access to all 2700+ Here's a Thought… commentaries.

The most influential poster in the history of art was an ad for a play. It was designed by a broke, unknown illustrator who only got the job because he was the one stuck working over the holidays. His name was Alphonse Mucha, and that single commission — a rush job nobody else wanted — turned him into the father of Art Nouveau. He didn't sit in a studio and find his direction. A customer handed it to him. Want to join Patrick for a live webinar? He hosts one every Monday, Wednesday, and Friday. Register here: asf.today/webinar That's the heart of this episode: a commission isn't a compromise. It's an idea-generation machine. A client drags you somewhere you'd never have chosen on your own — and every so often, that detour becomes your entire career. It happened to Mucha. It happened to a portrait painter named George Stubbs who took a few horse commissions and ended up the greatest equine painter who ever lived. It happened to a studio photographer named Dorothea Lange the day a government assignment sent her into the migrant camps. But before we get to the good news, we have to clear out the lies. The longer you spend in this business, the more you realize the "sacred truths" of the art world are mostly nonsense — and most of them are really just hobbyist rules wearing a business suit. (If you've heard me draw the hobbyist-vs-business line before, this is where it earns its keep — same line that runs under The Long Game.) In this episode: The Christmas shift that invented Art Nouveau — how Mucha got the job nobody wanted and never looked back Six "sacred truths" of the art business that are complete nonsense — and the one thing wrong with every single one of them "You need a niche before you can start" — why you don't pick your niche; the work reveals it "Good art sells itself" — the $128 of thrift-store junk that resold for $3,612 on stories alone, a $3.5M violin that earned $32 in a subway, and the painter who went from unsold to $2.5 million without changing a brushstroke "Never discount your work" — why that rule is real, why it isn't yours, and what the galleries who preach it actually do behind closed doors The line in the sand: hobby or business? Drucker said a business has exactly one purpose — to create a customer — and in that equation, you don't get the last word. The market does. "Nobody bought it, so I'm a failure" — the lie that makes good artists quit, and why Picasso died holding roughly 45,000 of his own unsold works Why constraints beat the blank canvas — Stravinsky, and the bet that produced Green Eggs and Ham in 50 words The honest catch: when a commission becomes a cage instead of a doorway, and how to tell the difference This week's homework: take the one commission you'd normally turn down — the weird request, the subject you'd never choose, the client who wants something slightly off from your usual. Say yes to it. Then watch where it drags you. Reply or DM me what you learned — I read every single one. Resources mentioned: Art Storefronts — the storefront engine for working artists The Mucha Foundation — the Gismonda poster and the birth of Art Nouveau Significant Objects — the experiment that turned $128 of junk into $3,612 with nothing but stories Pearls Before Breakfast — the Washington Post's Pulitzer-winning Joshua Bell subway story Freakonomics: The Hidden Side of the Art Market — how art is really priced (and why prices "only go up") Related episodes: The Gallery Test — Should Artists List Prices on Their Website? The Long Game — Why Your Website Will Still Be Working in 2055 POD and Samples — What Wyland and Gray Malin Actually Do 20 Ways to Grow Your Email List as an Artist — hobbyist or business, the honest cut So here's the takeaway. If you're a hobbyist, make whatever you want, forever, and be happy — there's no shame in it. But if you want a business, stop waiting for the market to reward your purity, because it never will. Go meet it. Say yes to the commission, the weird job, the thing you'd never have chosen — because that yes creates a customer, which is the only thing that makes you a business, and it just might drag you, like it dragged Mucha off that holiday shift, straight into the work you were put here to make. Stay Up To Date With The Latest https://linktr.ee/artmarketingpodcast

This week: Star Wars hits theaters, Jesse Owens sets records, Rachel Carson saves the ecosystem, and Dorothea Lange documents the Depression. The post History Matters: 5-25-77 appeared first on Chapelboro.com.

In a week where:CNN founder Ted Turner dies aged 87.UK staff of Google DeepMind vote to Unionize over military AI deals.Superdry co-founder James Holder jailed for eight years for raping a woman.Trump announces a three-day Russia-Ukraine ceasefire and prisoner swap.English Council, Mayoral; Welsh & Scottish Parliament elections come & go.In Society: (11:14) The antisemitism panic in the UK has been at a fever pitch in recent weeks in light of the Golders Green stabbing. But on top of a captive politics & media distorting the context of the event, they also made effort not to mention that there was a Muslim victim in the event. (Article By Ismail Patel)In Environment: (25:22) Whilst its not the full-on futureproofing effort I'm looking for from cities & nations, some are at least preparing for the future deadly heatwaves. Will this preparation do anything to at least neutralise our impending doom? (Article By Natalie Donback)In Politics: (40:25) Over in the US, the Voting Right Act - the landmark act centred by the Civil Rights Movement - was gutted by the US Supreme Court. And like flies to shit, Southern states are rushing to redraw maps back to Jim Crow levels of voter suppression. (Article By Ari Berman)Lastly, In Photography: (50:14) A name I discovered in recent years during my Photography journey is Dorothea Lange who was a key member in documenting the US from The Great Depression to Post-War reconstruction. Well, a nearly forgotten project of hers from the 50s have been put online for free. (Article By Tom May)Thank you for listening! If you want to contribute to the show, whether it be sending me questions or voicing your opinion in any way, peep the contact links below and I'll respond accordingly. Let me know "What's Good?"Rate & ReviewE-Mail: the5thelelmentpub@gmail.comTwitter & IG: @The5thElementUKWebsite: https://the5thelement.co.ukPhotography: https://www.crt.photographyIntro Music - "Too Much" By VanillaInterlude - "Charismatic" By NappyHighChillHop MusicOther Podcasts Under The 5EPN:Diggin' In The Digits5EPN RadioBlack Women Watch...In Search of SauceThe Beauty Of Independence

Giocare col fuoco: storie, canzoni, poesie di e con Fabrizio Coppola Letture: Chiara Cruciati, Sulle macerie di Gaza nasce il club privato di Trump (il manifesto); Monica Poggi, Alzare lo sguardo (Dorothea Lange, Dario Cimorelli editore). Musica: Grant Lee Buffalo, Nirvana, Haydn, Neil Young

Bu bölümde "fotoğraf" meselesi üzerine konuşuyoruz - tabii hala fotoğraf diye bir şeyden bahsetmek mümkünse. Bir belgeden bir kurmacaya, kimlik inşasına dönüşen fotoğrafı anlamaya, kendisiyle kurduğumuz ilişkiyi anlamlandırmaya çalışıyoruz. Edebiyatta ve sinemadaki izdüşümlerinin de peşine düşerek elbette.Bölümde adı geçen tüm kitap ve filmlerin listesini ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@1kitap1film.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ instagram hesabımızda bulabileceğinizi hatırlatalım.Kapak fotoğrafı: Dorothea Lange, Migrant Mother (1936)

In this episode, Diana and Michael are joined by Professor Lingxi Chenyang to discuss her article, “Food Antidemocracy,” forthcoming in the Southern California Law Review. In this article, Professor Chenyang looks at the Farm Bill's hidden history, delving into the antidemocratic techniques that were used to initially pass this law and tracing some of the major problems in our modern food system to this history. “Food Antidemocracy” is a fascinating look at the underpinning of the American food system. Professor Chenyang is an Associate Professor at the University of Utah's S.J. Quinney College of Law. Michael T. Roberts is the Executive Director of the Resnick Center for Food Law & Policy at UCLA Law.  Diana Winters is the Deputy Director of the Resnick Center for Food Law & Policy at UCLA Law. You can find “Food Antidemocracy” here.  You can see Dorothea Lange's “Migrant Mother” photograph here. 

On The Journalism Salute we talk to journalists about who they are and what they do with the intent of showing that journalists are not the enemy of the people.On this episode we're joined by Babette Hogan and Julie Eisenberg. They are the filmmakers behind Running for the Mountains, a new documentary film about environmental policies and politics and the fight between activists and politicians about this issue in West Virginia. It's available on Amazon Prime and also, if you have a library card, on Kanopy.Babette and Julie talked about the process by which they made their movie, which took 15 years to complete. They explained why they made the movie, how – as outsiders – they gained the trust of West Virginians, and shared some of the adventures they had along the way (including an arrest.Babette and Julie's salutes: Chris Hayes of MS Now, Gasland director Josh Fox, and the movie Knock Down the House, as well as photojournalists Dorothea Lange, Gordon Parks, and Sebastião Salgado. You can find all our episode guides for teachers and professors here,Please support your local public radio station: adoptastation.orgThank you for listening. You can e-mail me at journalismsalute@gmail.com Visit our website: thejournalismsalute.org Mark's website (MarkSimonmedia.com)Bluesky at @marksimon.bsky.socialSubscribe to our newsletter– journalismsalute.beehiiv.com

Honoring Dorothea Lange, the American documentary photographer and photojournalist who, through her snapshots and commentary, recorded the consequences of the Dust Bowl, the Great Depression and WWII in California.Snapshots in black & white illustrate the human suffering and struggle to survive of farmers fleeing the Dust Bowl and the Great Depression, and the internment of Japanese American citizens.A walk through the past brings us back to today. Here we are, 95 years years after the Dust Bowl and Great Depression. Poverty is spiking in the country with the highest concentration of billionaires in the world, the U.S.A. Through the machinations of the billionaires and fossil fuel corporations, the White House has rolled back progress in dealing with  the climate crisis. Remember the suffering and loss caused by the Dust Bowl? Remember the devastation caused by the Great Depression? After experiencing the live performance of Last West Roadsongs for Dorothea Lange at the Sonoma Valley Museum of Art, this is what floated up for me. https://svma.org/exhibition/last-west/For more: https://oshahayden.com/RELEVANT HISTORY The DUST BOWL “Between 1930 and 1940, the southwestern Great Plains region of the United States suffered a severe drought. Once a semi-arid grassland, the treeless plains became home to thousands of settlers when, in 1862, Congress passed the Homestead Act. Most of the settlers farmed their land or grazed cattle. The farmers plowed the prairie grasses and planted dry land wheat. As the demand for wheat products grew, cattle grazing was reduced, and millions more acres were plowed and planted.Dry land farming on the Great Plains led to the systematic destruction of the prairie grasses. In the ranching regions, overgrazing also destroyed large areas of grassland. Gradually, the land was laid bare, and significant environmental damage began to occur. Among the natural elements, the strong winds of the region were particularly devastating.With the onset of drought in 1930, the overfarmed and overgrazed land began to blow away. Winds whipped across the plains, raising billowing clouds of dust. The sky could darken for days, and even well-sealed homes could have a thick layer of dust on the furniture. In some places, the dust drifted like snow, covering farm buildings and houses. Nineteen states in the heartland of the United States became a vast dust bowl. With no chance of making a living, farm families abandoned their homes and land, fleeing westward to become migrant laborers.”“In all, 400,000 people left the Great Plains, victims of the combined action of severe drought and poor soil conservation practices.”“In his 1939 book The Grapes of Wrath, author John Steinbeck described the flight of families from the Dust Bowl: "And then the dispossessed were drawn west--from Kansas, Oklahoma, Texas, New Mexico; from Nevada and Arkansas, families, tribes, dusted out, tractored out. Car-loads, caravans, homeless and hungry; twenty thousand and fifty thousand and a hundred thousand and two hundred thousand. They streamed over the mountains, hungry and restless--restless as ants, scurrying to find work to do--to lift, to push, to pick, to cut--anything, any burden to bear, for food. The kids are hungry. We got no place to live. Like ants scurrying for work, for food, and most of all for land." Library of Congress US History https://www.loc.gov/classroom-materials/united-states-history-primary-source-timeline/great-depression-and-world-war-ii-1929-1945/dust-bowl/If you enjoyed this show, please leave a positive review and share with your friends. Thank you! Osha

In 1954, photographers Ansel Adams and Dorothea Lange traveled to southern Utah to capture life in three Mormon towns — Gunlock, Toquerville and St. George. We'll talk with art historian James Swensen about what their images reveal and how these communities have evolved since then.

HT2422 - They All Come from Projects What most of us tend to show matted, framed, and hanging in a place of importance in our home are the very best images we've created. But where do these come from? My observation is that most of those super winners rise from the midst of a project and become super winners due to actions beyond our control. For example, Dorothea Lange made lots of pictures for the FSA, but Migrant Mother rose from the crowd to become iconic. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Linda Gordon, American Historian and Author of "Dorothea Lange: A Life Beyond Limits," talks about how photographer Dorothea Lange helped show that documentary photography could also be art, and also discusses Lange's unique ability to capture her subject's natural state.  The full interview from a 2009 episode of "Conversations On The Coast with Jim Foster" can be heard now wherever you get your podcasts.

HT2387 - Migrant Mother PPI Is it fair to say that one of the most important and world-changing images from all of photographic history is Migrant Mother by Dorothea Lange? For our generation of photographers, it's good to remember that this amazing image first appeared as an 85 dpi image in newsprint. The same for W. Eugene Smith's Country Doctor, or Tomoko and Mother in the Bath. Same with Weston's My Camera on Point Lobos. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

How do social movements arise, wield power, and bring about meaningful change? Renowned scholar Linda Gordon investigates these and other salient questions in this “visionary, cautionary, timely, and utterly necessary book” (Nicole Eustace), narrating how some of America's most influential twentieth-century social movements transformed the nation.Beginning with the turn-of-the century settlement house movement, the book compares Chicago's celebrated Hull-House, begun by privileged women, to a much less well known African American project, Cleveland's Phillis Wheatley House, begun by a former sharecropper. Expanding her highly praised book The Second Coming of the KKK, the second chapter shows how a northern Klan became a mass movement in the 1920s. Contrary to what many Klan opponents thought, this KKK was a middle-class organization, its members primarily urban and well educated. In the 1930s, the KKK gave birth to dozens of American fascist groups—small but extremely violent. Profiles of two other 1930s movements follow: the Townsend campaign for old-age insurance, named for its charismatic leader, Dr. Francis Townsend. It created the public pressure that brought us Social Security, which was considered radical at the time, as was the movement to bring about federal unemployment aid for millions.Proceeding to the 1955–1956 Montgomery bus boycott—which jump-started the career of Martin Luther King, Jr.—the narrative shows how the city's entire Black population refused to ride segregated buses; initiated by Black women, their years-long, hard-fought victory inspired the civil rights movement. Gordon then examines the 1970s farmworkers struggle, led by Cesar Chavez and made possible by the work of tens of thousands of the primarily Mexican American farmworkers. Together they built the United Farm Workers Union, winning better wages and working conditions for some of the country's poorest workers. The book concludes with the dramatic stories of two Boston socialist feminist groups, Bread and Roses and the Combahee River Collective, which influenced the whole women's liberation movement. Linda Gordon is professor emerita of history and University Professor of the Humanities at New York University. She is the winner of two Bancroft prizes for best book in American History.  Her previous work includes The Second Coming of the KKK and a biography of the photographer Dorothea Lange. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

How do social movements arise, wield power, and bring about meaningful change? Renowned scholar Linda Gordon investigates these and other salient questions in this “visionary, cautionary, timely, and utterly necessary book” (Nicole Eustace), narrating how some of America's most influential twentieth-century social movements transformed the nation.Beginning with the turn-of-the century settlement house movement, the book compares Chicago's celebrated Hull-House, begun by privileged women, to a much less well known African American project, Cleveland's Phillis Wheatley House, begun by a former sharecropper. Expanding her highly praised book The Second Coming of the KKK, the second chapter shows how a northern Klan became a mass movement in the 1920s. Contrary to what many Klan opponents thought, this KKK was a middle-class organization, its members primarily urban and well educated. In the 1930s, the KKK gave birth to dozens of American fascist groups—small but extremely violent. Profiles of two other 1930s movements follow: the Townsend campaign for old-age insurance, named for its charismatic leader, Dr. Francis Townsend. It created the public pressure that brought us Social Security, which was considered radical at the time, as was the movement to bring about federal unemployment aid for millions.Proceeding to the 1955–1956 Montgomery bus boycott—which jump-started the career of Martin Luther King, Jr.—the narrative shows how the city's entire Black population refused to ride segregated buses; initiated by Black women, their years-long, hard-fought victory inspired the civil rights movement. Gordon then examines the 1970s farmworkers struggle, led by Cesar Chavez and made possible by the work of tens of thousands of the primarily Mexican American farmworkers. Together they built the United Farm Workers Union, winning better wages and working conditions for some of the country's poorest workers. The book concludes with the dramatic stories of two Boston socialist feminist groups, Bread and Roses and the Combahee River Collective, which influenced the whole women's liberation movement. Linda Gordon is professor emerita of history and University Professor of the Humanities at New York University. She is the winner of two Bancroft prizes for best book in American History.  Her previous work includes The Second Coming of the KKK and a biography of the photographer Dorothea Lange. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How do social movements arise, wield power, and bring about meaningful change? Renowned scholar Linda Gordon investigates these and other salient questions in this “visionary, cautionary, timely, and utterly necessary book” (Nicole Eustace), narrating how some of America's most influential twentieth-century social movements transformed the nation.Beginning with the turn-of-the century settlement house movement, the book compares Chicago's celebrated Hull-House, begun by privileged women, to a much less well known African American project, Cleveland's Phillis Wheatley House, begun by a former sharecropper. Expanding her highly praised book The Second Coming of the KKK, the second chapter shows how a northern Klan became a mass movement in the 1920s. Contrary to what many Klan opponents thought, this KKK was a middle-class organization, its members primarily urban and well educated. In the 1930s, the KKK gave birth to dozens of American fascist groups—small but extremely violent. Profiles of two other 1930s movements follow: the Townsend campaign for old-age insurance, named for its charismatic leader, Dr. Francis Townsend. It created the public pressure that brought us Social Security, which was considered radical at the time, as was the movement to bring about federal unemployment aid for millions.Proceeding to the 1955–1956 Montgomery bus boycott—which jump-started the career of Martin Luther King, Jr.—the narrative shows how the city's entire Black population refused to ride segregated buses; initiated by Black women, their years-long, hard-fought victory inspired the civil rights movement. Gordon then examines the 1970s farmworkers struggle, led by Cesar Chavez and made possible by the work of tens of thousands of the primarily Mexican American farmworkers. Together they built the United Farm Workers Union, winning better wages and working conditions for some of the country's poorest workers. The book concludes with the dramatic stories of two Boston socialist feminist groups, Bread and Roses and the Combahee River Collective, which influenced the whole women's liberation movement. Linda Gordon is professor emerita of history and University Professor of the Humanities at New York University. She is the winner of two Bancroft prizes for best book in American History.  Her previous work includes The Second Coming of the KKK and a biography of the photographer Dorothea Lange. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

How do social movements arise, wield power, and bring about meaningful change? Renowned scholar Linda Gordon investigates these and other salient questions in this “visionary, cautionary, timely, and utterly necessary book” (Nicole Eustace), narrating how some of America's most influential twentieth-century social movements transformed the nation.Beginning with the turn-of-the century settlement house movement, the book compares Chicago's celebrated Hull-House, begun by privileged women, to a much less well known African American project, Cleveland's Phillis Wheatley House, begun by a former sharecropper. Expanding her highly praised book The Second Coming of the KKK, the second chapter shows how a northern Klan became a mass movement in the 1920s. Contrary to what many Klan opponents thought, this KKK was a middle-class organization, its members primarily urban and well educated. In the 1930s, the KKK gave birth to dozens of American fascist groups—small but extremely violent. Profiles of two other 1930s movements follow: the Townsend campaign for old-age insurance, named for its charismatic leader, Dr. Francis Townsend. It created the public pressure that brought us Social Security, which was considered radical at the time, as was the movement to bring about federal unemployment aid for millions.Proceeding to the 1955–1956 Montgomery bus boycott—which jump-started the career of Martin Luther King, Jr.—the narrative shows how the city's entire Black population refused to ride segregated buses; initiated by Black women, their years-long, hard-fought victory inspired the civil rights movement. Gordon then examines the 1970s farmworkers struggle, led by Cesar Chavez and made possible by the work of tens of thousands of the primarily Mexican American farmworkers. Together they built the United Farm Workers Union, winning better wages and working conditions for some of the country's poorest workers. The book concludes with the dramatic stories of two Boston socialist feminist groups, Bread and Roses and the Combahee River Collective, which influenced the whole women's liberation movement. Linda Gordon is professor emerita of history and University Professor of the Humanities at New York University. She is the winner of two Bancroft prizes for best book in American History.  Her previous work includes The Second Coming of the KKK and a biography of the photographer Dorothea Lange. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

How do social movements arise, wield power, and bring about meaningful change? Renowned scholar Linda Gordon investigates these and other salient questions in this “visionary, cautionary, timely, and utterly necessary book” (Nicole Eustace), narrating how some of America's most influential twentieth-century social movements transformed the nation.Beginning with the turn-of-the century settlement house movement, the book compares Chicago's celebrated Hull-House, begun by privileged women, to a much less well known African American project, Cleveland's Phillis Wheatley House, begun by a former sharecropper. Expanding her highly praised book The Second Coming of the KKK, the second chapter shows how a northern Klan became a mass movement in the 1920s. Contrary to what many Klan opponents thought, this KKK was a middle-class organization, its members primarily urban and well educated. In the 1930s, the KKK gave birth to dozens of American fascist groups—small but extremely violent. Profiles of two other 1930s movements follow: the Townsend campaign for old-age insurance, named for its charismatic leader, Dr. Francis Townsend. It created the public pressure that brought us Social Security, which was considered radical at the time, as was the movement to bring about federal unemployment aid for millions.Proceeding to the 1955–1956 Montgomery bus boycott—which jump-started the career of Martin Luther King, Jr.—the narrative shows how the city's entire Black population refused to ride segregated buses; initiated by Black women, their years-long, hard-fought victory inspired the civil rights movement. Gordon then examines the 1970s farmworkers struggle, led by Cesar Chavez and made possible by the work of tens of thousands of the primarily Mexican American farmworkers. Together they built the United Farm Workers Union, winning better wages and working conditions for some of the country's poorest workers. The book concludes with the dramatic stories of two Boston socialist feminist groups, Bread and Roses and the Combahee River Collective, which influenced the whole women's liberation movement. Linda Gordon is professor emerita of history and University Professor of the Humanities at New York University. She is the winner of two Bancroft prizes for best book in American History.  Her previous work includes The Second Coming of the KKK and a biography of the photographer Dorothea Lange. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tiziana Bonomo"Ritratti"Collezione Florence e Damien BachelotMuseo Nazionale del Risorgimento Italiano, Torinohttps://www.museorisorgimentotorino.it/news/ritratti-collezione-florence-damien-bachelot/“Ritratti. Collezione Florence e Damien Bachelot” è la nuova mostra fotografica al Museo Nazionale del Risorgimento Italiano di Torino, in programma dall'11 luglio al 5 ottobre 2025.Un viaggio alla scoperta dell'evoluzione del ritratto fotografico da Lewis Heine a Nan Goldin, a cura di Tiziana Bonomo. Uno sguardo sull'umanità tra miti, attualità ed emozioni attraverso la Collezione Bachelot.La mostra, promossa dall'Associazione culturale Imago Mundi e curata da Tiziana Bonomo, espone circa 90 ritratti originali selezionati all'interno di una delle più importanti collezioni fotografiche private in Francia e in Europa permeata da un profondo spirito umanista.  Diversi autori noti come Lewis Hine, Arnold Newman, Irwing Penn, Dorothea Lange, Saul Leiter, Nan Goldin, Ann Ray, Mohamed Bourouissa  e Gilles Caron,  compongono una costellazione di sguardi che attraversa il Novecento e la contemporaneità.La mostra in naturale armonia con il Museo Nazionale del Risorgimento Italiano, galleria dei protagonisti di un'epoca della Storia d'Italia, offre in un video un saggio del patrimonio dei 17.000 documenti fotografici che il museo custodisce. Tra alcuni soggetti del Risorgimento emergono i ritratti della Contessa di Castiglione che fu la prima nell'800 ad usare la fotografia per propagandare il proprio fascino. Il ritratto ci avvicina, ci interroga, ci invita al dialogo, creando nuovi momenti segnati dall'impatto di ciò che la semplice contemplazione può suscitare in noi. La mostra si articola in quattro sezione tematiche: Miti, Emozioni, Società e Attualità.   E proprio in questo tempo estivo, sospeso e personale, “RITRATTI. Collezione Florence e Damien Bachelot”  si presenta come un'occasione per riscoprire lo sguardo degli altri come un respiro, uno specchio di ciò che siamo.La mostra è realizzata grazie al prezioso contributo del Main Sponsor Banca d'Alba, con il sostegno del Consiglio Regionale del Piemonte, il supporto della Fondazione Deloitte, il patrocinio della Città di Torino, della Città Metropolitana di Torino, della Camera di commercio di Torino, dell'Institut Français e dell'Alliance Française, e in collaborazione con la Collection Bachelot, la Saul Leiter Foundation e ArtPhotò. Grafica e allestimento saranno a cura di WoWstudio.Tiziana Bonomohttps://www.artphotobonomo.it/Operatrice culturale dal 2016 e pubblicista, iscritta all'Ordine dei Giornalisti del Piemonte dal 2025"ArtPhotò un approccio non convenzionale alla fotografia"Nata per raccontare storie, creare atmosfere, suscitare emozioni attraverso:Eventi (mostre, libri, incontri) legati al linguaggio fotografico e progetti legati alla fotografia di documentazione e impegno socialeDalla ideazione, alla progettazione, curatela, organizzazione fino alla comunicazione e promozione dell'evento, degli artistiIntrecciare parole e immaginiIl linguaggio delle parole e quello delle immagini si intrecciano nei dialoghi che realizzo da otto anni. Personalità diverse accomunate dall'attenzione verso alcune tematiche, dalla sensibilità, dal dubbio, dalla ricerca, dall'esperienza per creare conversazioni, dialoghi di approfondimento e confrontoDiffondere la conoscenza verso il linguaggio della fotografia con:Fondazione dell' "Associazione culturale Imago Mundi di Torino" con lo scopo di diffondere la cultura fotografica, letteraria come linguaggi contemporanei di comunicazioneIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This episode of Subtext & Discourse Art World podcast is brought to you by AIPAD and The Photography Show. AIPAD represents fine art photography galleries around the world and is proud to present the 2025 edition of its flagship event, The Photography Show. The fair will showcase photography from the earliest processes to cutting-edge contemporary work that pushes the boundaries of the medium, from April 23 – 27 at The Park Avenue Armory in New York City. Go to www.aipad.com/show for more information and to plan your visit.   The Association of International Photography Art Dealers (AIPAD) encourages public support of fine art photography through education and communication by enhancing the confidence of the public in responsible photography collecting. First organized in 1979, AIPAD and its current members span the globe with members in North and South America, Australia, Europe and Asia. AIPAD has become a unifying force in the field of photography and is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art. - AIPAD official website https://www.aipad.com/ - Follow AIPAD on Instagram https://www.instagram.com/aipadphoto/ - Talks programme by AIPAD on YouTube https://www.youtube.com/@aipadphoto   Lee Marks (Lee Marks Fine Art) was a founding member of AIPAD and was President from 1991 until 1995. Established in 1981, LMFA represents a small stable of international photographers and presents bi-monthly, online exhibitions by theme or represented artists. She also advises collectors on other photography acquisitions as well as insurance appraisals. - Lee Marks Fine Art official website https://www.leemarksfineart.com/ - Membership page on AIPAD https://www.aipad.com/member/lee-marks-fine-art - Follow Lee Marks on instagram - https://www.instagram.com/lee.marks.9809/   Robert Klein (Robert Klein Gallery) was an early member of AIPAD and was President from 1995 until 2008. Robert Klein Gallery was established in 1980 and maintains an extensive and ever-changing inventory of 19th-century, 20th-century, and contemporary fine art photography. During his tenure, Robert engineered the 2006 expansion of The AIPAD Photography Show New York to the Park Avenue Armory, firmly establishing it as one of the leading photographic fairs in the world. - Robert Klein Gallery official website https://www.robertkleingallery.com/ - Membership page on AIPAD https://www.aipad.com/member/robert-klein-gallery - Follow Robert Klein Gallery on instagram https://www.instagram.com/robertkleingallery/   Stephen Bulger (Stephen Bulger Gallery) served on the Board beginning in 2001 and became First Vice President in 2003. He was President from 2009 until 2012. Stephen Bulger Gallery, Toronto, opened in 1995, and offers an active exhibition schedule of 19th century, 20th century and contemporary international photographers. He has published numerous catalogues and books, and has curated over 120 exhibitions. Stephen is also co-founder and a member of the Board of CONTACT, Toronto's photography festival. He is a graduate of the School of Image Arts at Ryerson University, Toronto, where he was the founding Manager of the Ryerson Gallery.  - Stephen Bulger Gallery official website https://www.bulgergallery.com/ - Membership page on AIPAD https://www.aipad.com/member/stephen-bulger-gallery - Follow Stephen Bulger on instagram https://www.instagram.com/stephen.bulger/ and his gallery https://www.instagram.com/stephenbulgergallery/   Richard Moore (Richard Moore Photographs) served on the AIPAD Board of Directors for 12 years and was President from 2017 until 2021. RICHARD MOORE PHOTOGRAPHS, founded in 2000, is a private dealer of photographs, primarily vintage works by 19th and 20th century American photographers. Specialties include California photography, The Photo-Secession, Group f/64, Dorothea Lange,  Farm Security Administration (FSA) photographers, Social Documentary photography and Photo-journalism. - Richard Moore Photographs official website https://www.richardmoorephoto.com/ - Membership page on AIPAD https://www.aipad.com/member/richard-moore-photographs - Follow Richard Moore Photographs on instagram https://www.instagram.com/richardmoorephoto/   Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 21. March 2025 between Perth (AU), Toronto (CA), Shelbyville, IL, Oakland, CA, and Boston, MA (US).

Our cohosts had slightly different experiences solving today's crossword ... Jean found it to be a tricky but straightforward Friday, Mike found solving it more akin to climbing the Hoover Dam one-handed: doable, but only with a lot of patience (and possibly a temporary repeal of the law of gravity). Deets inside, as well as a fine Fun Fact for Fun Fact Friday™️ (and the promise of a future bit of listener mail).Show note imagery: a photo by Dorothea LANGE (pronunciation TBD), documenter of the Great Depression.We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

I could not put this away. Once I saw what happened here: the orange Tug River from the strip mines…the strip mining, the desecration, the poverty. I owed it to the world to tell what happened. William Trent Pancoast has worked as a construction laborer, gas station attendant, railroad section hand and brakeman, factory laborer, commercial laundry foreman, and machinist. He's been an English teacher and a journeyman die-maker. In 1986 The Wall Street Journal dubbed Pancoast a "Blue collar writer" and that's just fine with him, as he told the Journal, "The reason I write about work is that that's just about damn near all I've ever done." His working-class-flavored short stories and essays have appeared in many Midwestern and international magazines and newspapers. Pancoast's novel Crashing was published in 1983. In 1986, his United Auto Worker's union history was published. Pancoast spent the next twenty years as the editor of a monthly union newspaper-the Union Forum-while continuing to publish his fiction, essays, and editorials not only in the Union Forum but also in the UAW's 1.2 million circulation Solidarity magazine. A revised version of his novel The Road to Matewan has just been published and yesterday Bill Pancoast drove down from his home in Ohio to give a reading and talk at the West Virginia Mine Wars Museum so I figured the least I could do was make the 7-hour drive down – my own 300-mile Road to Matewan – to record it for you. By the way, as you'll hear, the train still runs through town right across from the museum. On this week's Labor History in Two: the year was 1965; that was the day acclaimed photojournalist Dorothea Lange died. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. @WarsWV #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

After a weeklong strike, Molson Coors repair workers with Machinists Lodge 66 in Milwaukee ratify a new contract. The immigrant-founded workers co-op Los Volcanoes launches in Madison, Tennessee factory workers are ordered to their death during Appalachian storms, a UAW striker is killed on a Michigan picket line, Boeing management talks tough as the West Coast Machinists strike ends its first month, South Central Federation of Labor AFL-CIO president Kevin Gundlach explains the SCFL electoral endorsement process, a Malaysian contractor of the multinational Kimberly-Clark is found to use forced labor, a Kansa City tenants union has called a strike, and photographer Dorothea Lange is remembered on the anniversary of her death.

This month marks the 70th anniversary of the renowned American photographer Dorothea Lange's visit to Clare. In September 1954, she came to Clare, with the aim of capturing rural life in Ireland. Her month spent exploring the towns, villages and farms of the Banner County resulted in 2,400 remarkable photos. To discuss this further, Alan Morrissey was joined by Gerry Mullins, who produced both a book and documentary on Dorothea Lange's visit to Clare. Photo (c): https://pallantbookshop.com/product/dorothea-langes-ireland/

Fotografske podobe nas spremljajo vsak dan, živimo v družbi preplavljeni s podobami. In te podobe nam zavestno in nezavedno oblikujejo misli, občutja, tudi življenjske nazore in izbire. Večina te vizualne, fotografske hiperprodukcije je brez globljega smisla, brez refleksije, brez neke dodane vrednosti, ki bi osmišljala humanistično držo pri posamezniku. In družbi. A vendarle obstajajo podobe, ikonične fotografije, ki s svojo sporočilnostjo in močjo sežejo dlje in globlje in lahko spreminjajo zavest družbe in celo preusmerijo tok zgodovine. Katere so, te ikonične fotografije, imajo tudi v tem hektičnem in desenzibiliziranem času, ki ga živimo, še moč dramila? O tem se je avtorica in voditeljica Liana Buršič pogovarjala z gostoma v tokratni Intelekti, pa tudi o meji, cenzuri in etosu, ko fotografiramo ljudi in dogodke, o družbeno angažirani fotografiji in o tem, kaj s fotografijo sploh želimo sporočiti soljudem in svetu ter manku senzibilnosti ob gledanju. Fotografija priča o življenju, daljnem in bližnjem, vsekakor je močno orodje, prav tako kot tisti, ki gleda skozi to tretje oko – fotograf. Ali kot je rekla znamenita ameriška fotografinja, Dorothea Lange, ki je zaslovela s svojo serijo fotogafij migrantske matere, posnete v času velike gospodarske krize – fotoaparat je orodje, ki uči ljudi, kako gledati, videti tudi brez fotoaparata. Gosta: - Manca Juvan, mednarodno priznana fotografinja, zaposlena na ZRC SAZU-ju, Znanstvenoraziskovalnem centru Slovenske akademije znanosti in umetnosti, na oddelku za multimedijo - Dr. Uroš Hočevar, fotograf, docent na VIST-u, Fakulteti za aplikativne vede, na oddelku za fotografijo, tudi ustanovitelj Inštituta kolektiff Foto: "Čakajoč na popis", Matic Zorman, World Press Photo 2016, 1. nagrada, portret (izsek objavljen z dovoljenjem avtorja)

La fotografía Madre Emigrante 1936: La Obra Maestra de Dorothea Lange es una de las imágenes más icónicas de la Gran Depresión. Capturada por la talentosa fotógrafa Dorothea Lange, esta imagen ha dejado una huella indeleble en la historia de la fotografía y el periodismo visual. En este video, exploramos el contexto histórico de la fotografía, la vida de la madre inmigrante retratada, y el impacto duradero de esta poderosa imagen. Descubre cómo Lange logró capturar la esencia de una era con su cámara y cómo esta foto ha influido en generaciones de fotógrafos y artistas. Únete a nosotros mientras desentrañamos los secretos detrás de esta fotografía que ha definido una época y sigue siendo relevante hoy en día. #FotografíaHistórica#DorotheaLange#MadreEmigrante1936

This week the award-winning Cinematographer, Shana Hagan, ASC. In the words of fellow cinematographer Gretchen Warthen: “Shana is the biggest documentary female DP/Operator in the world… and one of the kindest DPs I have ever worked with on set. You would never know who she is in the cinematography world without looking her up.” Her work includes DPing the 1997 Oscar-winning Documentary Short BREATHING LESSONS: THE LIFE & WORK OF MARK O'BRIEN and shooting additional cinematography for the 2014 Oscar-winning Best Documentary Feature: 20 FEET FROM STARDOM.  She worked on the Oscar nominated 2010 Documentary FOOD, INC., and DP'd the 2020 Oscar nominated Documentary Short: WALK RUN CHA-CHA as well as the 2005 Sundance Film Festival Award Special Jury Prize Winner - AFTER INNOCENCE and the 2012 Sundance Film Festival Award Grand Jury Prize nominee - THE QUEEN OF VERSAILLES. Shana has firmly embedded herself in the industry. Born in Phoenix, Arizona, to parents Robert Hagan, MD and Peggy Hagan, a Girl Scout Camp Director and Troop Leader, Shana is the middle of three children. Her parents instilled many important values in her which have helped her throughout her life and career. As a schoolgirl, she became a competitive swimmer at the age of five through to her Freshman year at Loyola Marymount University in Los Angeles where she attended film school. It was a natural career path for the enthusiastic young photographer who had already developed a keen eye for filmmaking. Shana was the ‘official' family videographer with a curious mind, appetite for storytelling and a passion that grew as she established the foundation for her craft, opening doors and creating opportunities right out of school. Shana was the first woman to shoot on the hit reality series SURVIVOR and was nominated for an Emmy for her work on SURVIVOR: CHINA. She shot four seasons on NBC's PARKS AND RECREATION, was the 2nd Unit DP on Netflix's ARRESTED DEVELOPMENT and has shot commercial spots for Disney, Electronic Arts, Kohl's, the US Army, Kodak, Verizon and others. Shana's current scripted work includes the critically acclaimed, Peabody Award-winning series SOMEBODY SOMEWHERE for HBO and Fox's half hour docu-comedy WELCOME TO FLATCH. She lives in Los Angeles with her husband Peter, daughter Iris, two dogs and two cats. https://www.shanahagan.com/ https://www.imdb.com/name/nm0353248/Instagram: @shanahaganaschttps://www.instagram.com/shanahaganasc/Shana's Playlist:"I love classical: “Appalachian Spring” by Aaron Copland – so cinematic and nostalgic for summers on Grandma and Grandpa's farm in Oklahoma.Saint-Saens' “Carnival of the Animals: 7 / Aquarium”Vivaldi – “Four Seasons / Spring”I love world music:Ali Farka Toure  “Kaira”Cesaria Evora  “Sodade”Buena Vista Social Club  “Chan Chan”The Chieftains  “The Wind That Shakes the Barley / The Reel With the Beryle”More random faves and some new stuff too:Dave Brubeck's  “Take Five”Bill Withers  “Lovely Day”U2  “Beautiful Day” Coldplay  “A Sky Full of Stars”Bonobo  “Recurring”Khruangbin   “Texas Sun”Lord Huron  “The Night We Met”Radiohead  “Big Sleep”Black Pumas  “Colors”Some favorite female artists in visual arts:"I absolutely love Dorothea Lange's photography.  Her work during the depression is some of the best documentary photography there is.  See “Migrant Mother” and it'll rip your heart out.  also love Georgia O'Keeffe – did a doc about her years ago and was just in love with her story, her passion for her work, her friends (Steiglitz, Ansel Adams, etc).  Would love to have a drink with her."______ Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

This week the award-winning Cinematographer, Shana Hagan, ASC. In the words of fellow cinematographer Gretchen Warthen: “Shana is the biggest documentary female DP/Operator in the world… and one of the kindest DPs I have ever worked with on set. You would never know who she is in the cinematography world without looking her up.” Her work includes DPing the 1997 Oscar-winning Documentary Short BREATHING LESSONS: THE LIFE & WORK OF MARK O'BRIEN and shooting additional cinematography for the 2014 Oscar-winning Best Documentary Feature: 20 FEET FROM STARDOM.  She worked on the Oscar nominated 2010 Documentary FOOD, INC., and DP'd the 2020 Oscar nominated Documentary Short: WALK RUN CHA-CHA as well as the 2005 Sundance Film Festival Award Special Jury Prize Winner - AFTER INNOCENCE and the 2012 Sundance Film Festival Award Grand Jury Prize nominee - THE QUEEN OF VERSAILLES. Shana has firmly embedded herself in the industry. Born in Phoenix, Arizona, to parents Robert Hagan, MD and Peggy Hagan, a Girl Scout Camp Director and Troop Leader, Shana is the middle of three children. Her parents instilled many important values in her which have helped her throughout her life and career. As a schoolgirl, she became a competitive swimmer at the age of five through to her Freshman year at Loyola Marymount University in Los Angeles where she attended film school. It was a natural career path for the enthusiastic young photographer who had already developed a keen eye for filmmaking. Shana was the ‘official' family videographer with a curious mind, appetite for storytelling and a passion that grew as she established the foundation for her craft, opening doors and creating opportunities right out of school. Shana was the first woman to shoot on the hit reality series SURVIVOR and was nominated for an Emmy for her work on SURVIVOR: CHINA. She shot four seasons on NBC's PARKS AND RECREATION, was the 2nd Unit DP on Netflix's ARRESTED DEVELOPMENT and has shot commercial spots for Disney, Electronic Arts, Kohl's, the US Army, Kodak, Verizon and others. Shana's current scripted work includes the critically acclaimed, Peabody Award-winning series SOMEBODY SOMEWHERE for HBO and Fox's half hour docu-comedy WELCOME TO FLATCH. She lives in Los Angeles with her husband Peter, daughter Iris, two dogs and two cats. https://www.shanahagan.com/ https://www.imdb.com/name/nm0353248/Instagram: @shanahaganaschttps://www.instagram.com/shanahaganasc/Shana's Playlist:"I love classical: “Appalachian Spring” by Aaron Copland – so cinematic and nostalgic for summers on Grandma and Grandpa's farm in Oklahoma.Saint-Saens' “Carnival of the Animals: 7 / Aquarium”Vivaldi – “Four Seasons / Spring”I love world music:Ali Farka Toure  “Kaira”Cesaria Evora  “Sodade”Buena Vista Social Club  “Chan Chan”The Chieftains  “The Wind That Shakes the Barley / The Reel With the Beryle”More random faves and some new stuff too:Dave Brubeck's  “Take Five”Bill Withers  “Lovely Day”U2  “Beautiful Day” Coldplay  “A Sky Full of Stars”Bonobo  “Recurring”Khruangbin   “Texas Sun”Lord Huron  “The Night We Met”Radiohead  “Big Sleep”Black Pumas  “Colors”Some favorite female artists in visual arts:"I absolutely love Dorothea Lange's photography.  Her work during the depression is some of the best documentary photography there is.  See “Migrant Mother” and it'll rip your heart out.  also love Georgia O'Keeffe – did a doc about her years ago and was just in love with her story, her passion for her work, her friends (Steiglitz, Ansel Adams, etc).  Would love to have a drink with her." Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

Emily Inouye Huey's father was born in a prison camp during World War II. His parents were imprisoned simply for the color of their skin and suffered terrible injustices. Still, Huey's father and other ancestors chose to move forward following the war, refusing to harbor resentment or bitterness—passing on to their children and grandchildren the hope of a much brighter future. Today, Emily is an author who wants to make sure their victory over the atrocities of war is known and that their legacy lives on. 1:40- Family's Experience During World War II 3:55- Dorothea Lange 11:28- Wat Misaka 13:28- Why Representation Matter 17:29- A Need To Create 20:36- Rid of Resentment 25:52- Belief in People 29:07- Finding the Gospel 33:24- What Does It Mean To Be All In the Gospel of Jesus Christ? “The way that they survived, the way that they came out of it still able to love this country and this world, all those things to me are a victory.” Links: Wat Kept Playing Beneath the Wide Silk Sky Emily discussing literature and representation: Celebrating Canyons Culture Through Picture Books and Young Adult BooksCSDtv Canyons District•42 views•1 month ago Dorothea Lange Photo- https://emilyhuey.com/novels/

In this episode of the TILT Parenting Podcast, I'm excited to share with you a conversation I recently had with filmmaker Tom Ropelewski. Tom is the director of the highly acclaimed documentary 2e: Twice Exceptional, which came out in 2015, and he's currently wrapping up post-production on a follow-up film, called 2e2: Teaching the Twice Exceptional. Tom's films center around Bridges Academy, a school for twice-exceptional kids in Studio City, CA that seems to have figured out the best way to meet the educational needs of these unique learners. In our conversation, Tom shares his story and personal why behind making these films, talks about the educational model at Bridges, describes how his films are helping to bring awareness of 2e kids' into the mainstream, and gives us a sneak peek at his new film coming out later this year.   About Tom: Thomas Ropelewski has written and directed for both film and television. He wrote and made his feature directorial debut with the Orion Pictures comedy MADHOUSE, starring John Larroquette and Kirstie Alley. Other film credits include LOVERBOY, THE KISS, LOOK WHO'S TALKING NOW and THE NEXT BEST THING. His television work includes serving as writer/executive producer for three seasons of Paramount TV's action/sci-­‐fi series SEVEN DAYS. Recently, Ropelewski produced and directed the documentary, CHILD OF GIANTS: My Journey with Maynard Dixon and Dorothea Lange. The film has been screened at film festivals, colleges and museums around the world. It has also aired on KCET/San Francisco's “Truly CA” documentary series. He currently resides in Berkeley, CA and is married to screenwriter Leslie Dixon (MRS. DOUBTFIRE, HAIRSPRAY, THE THOMAS CROWN AFFAIR, LIMITLESS).   Things You'll Learn From This Episode: Tom's personal why for creating documentaries How Bridges Academy successfully supports 2e kids The story behind Tom's film, 2e: Twice Exceptional The focus of Tom's follow-up documentary, coming in 2018: 2e2: Teaching the Twice Exceptional How Tom's documentary helped to expand general awareness of 2e / twice-exceptional Why it's critical to use a strengths-based approach when educating 2e kids Get Exclusive NordVPN deal here → https://nordvpn.com/tilt - It's risk-free with Nord's 30-day money-back guarantee! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Nerdy Photographer Podcast, we delve into the captivating world of street photography, where the pulse of a city beats through every frame. Join us as we explore the art of capturing the essence of a city—the rhythm of its streets, the diversity of its people, and the stories etched into its sidewalks and skylines. Our guest, Phil Penman, shares his insights into the nuances of capturing the soul of a city. From bustling metropolises to sleepy neighborhoods, we discuss the magic of street photography as a means of documenting the ever-evolving tapestry of urban life. Phil also shares his tips and techniques for consistently finding interesting images to capture. Street photography serves as a powerful lens through which to explore the complex layers of urban culture. By capturing fleeting moments of beauty, chaos, and humanity, photographers offer us a glimpse into the heart and soul of a city. From the iconic landmarks that define its skyline to the hidden alleyways that pulse with life, each image tells a story—a snapshot of the city's past, present, and future. Join us as we celebrate the art of street photography. Episode Promos Want to help The Nerdy Photographer Podcast? Here are a few simple (and mostly free) ways you can do that: Pixifi CRM software - https://nerdyphotographer.com/recommends/pixifi/  Nerdy Photographer contract templates - https://nerdyphotographer.com/product-category/contracts/  Siteground Web Hosting - https://www.siteground.com/go/nerdy  Support The Nerdy Photographer Want to help The Nerdy Photographer Podcast? Here are a few simple (and mostly free) ways you can do that: Subscribe to the podcast! Already subscribed? Leave a review! Tell your friends about the podcast - even tell your enemies! Subscribe to the newsletter - https://nerdyphotographer.com/newsletter/  Follow on Instagram - https://instagram.com/thenerdyphoto Follow on Threads - https://threads.net/@thenerdyphoto Follow in Tiktok - https://tiktok.com/@thenerdyphoto Get some Nerdy Photographer swag and be the coolest photographer around - https://www.teepublic.com/stores/nerdy-photographer Buy Casey a drink by going to our support page - https://nerdyphotographer.com/support-nerdy-photographer/ About My Guest The British-born, New York-based photographer Phil Penman has documented the ever-changing scene of New York City's streets for more than 25 years. In his career as a news and magazine photographer, with a large body of work in such publications as The Guardian, The Independent, The New York Review of Books, among others, he has photographed major public figures and historical events. In particular, his report-age following the September 11, 2001 terrorist attack on the World Trade Center has been featured on NBC's Today show, as well as on the BBC, History Channel, and Al Jazeera, and his images have been included in the 9/11 Memorial and Museum's archives. His work covering the pandemic lockdown in New York City has been acquired by the U.S. Library of Congress, whose collection holds work by such great Depression-era documentarians as Walker Evans and Dorothea Lange. Besides showing at Leica galleries in New York, Washington, D.C., Boston, and London, Penman's signature street photography has appeared in international exhibitions as far afield as Venice, Berlin, and Sydney. He also tours the world teaching workshops on photography for Leica Akademie. He was recently named among the “52 Most Influential Street Photographers,” alongside such legends as Henri Cartier-Bresson, Sebastião Salgado, Diane Arbus, and Garry Winogrand. Penman's book, “Street” , published in 2019, became a best-seller and was featured at the Museum of Modern Art in New York. His most recent book “ New York Street Diaries” launched as the number one selling Street Photography book worldwide on Amazon. Website - https://philpenman.com Instagram - https://instagram.com/philpenman Street: Photographs on Amazon - https://amzn.to/3UgKJNO New York Street Diaries on Amazon - https://amzn.to/3vP0F0i  What Did You Think About This Episode? Are you a street photographer or interested in becoming one? Let us know your thoughts at our contact page - https://nerdyphotographer.com/contact - or leave a comment / send a DM on social media. We would also love to hear your photography related questions or topics you might like to hear on an upcoming episode About The Podcast The Nerdy Photographer Podcast is written and produced by Casey Fatchett. Casey is a professional photographer in the New York City / Northern New Jersey with more than 20 years of experience. He just wants to help people and make them laugh. You can view Casey's wedding work at https://fatchett.com or his non-wedding work at https://caseyfatchettphotography.com 

In this episode, we discuss our experiences at a local Femdom event.Episode Art: No Title, Dorothea Lange, 1939,  Yale/Library of CongressSupport the show

HT1827 - Beyond the Headline Heroes, Part 2 For some reason, I always seem to prefer the lesser known photographers rather than the headline heroes. I prefer the landscapes of Wynn Bullock over Ansel Adams, the portraits of Paul Strand over those of Annie Leibovitz, the daily life photographs of Josef Sudek over those of Dorothea Lange, and the reportage of Josef Koudelka over that of Henri Cartier-Bresson.

Travel expert and PBS host Rick Steves stops by for “ATL Up and Away.” Plus, we hear about the new exhibition at the Booth Museum of Western Art, “Dorothea Lange and Pirkle Jones: Death of a Valley,” and find out about Atlanta Contemporary's new executive director. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Great Depression wasn't something we talked much about in my family. I do know it's what made my grandfather quit school in the eighth grade to go work in his father's grocery store. When we think of this time in international history, which lasted roughly from the Stock Market crash in 1929 until the lead-up to World War 2, we often think of the photographs of Dorothea Lange and the New Deal which funded large public works proejcts like the TVA and Hoover Dam. But quilt historian Janneken Smucker has uncovered a softer side the New Deal, one that until now, has received scant attention: the role of quilts as a of domestic stream of income.In this conversation, Janneken and I explore: ① how the New Deal may have changed quilting for a generation ② how quilts can be containers of hope and resilience ③ how quilts were used as American propagandaI hope you enjoy HOW TO SOFTEN HARD TIMES with my good friend, Janneken SmuckerHELPFUL RESOURCES⤷ New Deal for Quilts by Janneken Smucker⤷ International Quilt Museum exhibit website⤷ Farm Security Administration Photo Archives⤷ Soft Covers for Hard Times by Merikay Waldvogel⤷ Always There: The African-American Presence in American Quilts by Cuesta BenberrySEAMSIDE host Zak foster co-explores the inner work of textiles with various textile artists. In each episode, we seek to understand how working with cloth makes us more human.⤷ Looking for a supportive textile community online? Check out the NOOK!⤷ I also send weekly email goodies⤷ New to SEAMSIDE? Check out THE TOP TEN FAN FAVORITE EPISODES ⤷ Here's my website with lots of pretty quilts⤷ And of course you can see more on Instagram⤷ Enter here for your chance to win a FREE YEAR on the NOOK!

This week's guest is Director of Photography and Cinematographer Hannah Epstein has been with National Football League (NFL) since 2012 and is the first female camera operator on the staff. Hannah was born in Pennington, NJ in 1990 to Terri, a writer and artist, and Jonathan, a lawyer. She has a brother Harrison who works in finance. In her youth, Hannah was a keen sportswoman and played on lacrosse and basketball teams. She became fascinated with cameras at any early age, vigorously studying the fine art of still photography, which provided the foundation for film. She attended Middlebury College in Vermont, which had a film and media culture and where she also enjoyed cinema studies. Hannah also spent a semester in Ireland where she produced music videos. In 2005, Hannah volunteered for the Israel Lacrosse organization, coaching kids and filming the program's U19 women's team. Back in the US, Hannah interned in the camera department of the NFL, which led to her current position as Staff Cinematographer. She was DP for HBO's “Hard Knocks Training Camp, and DP on the TV series Earnin' It and Abby's Places, and camera operator on 30 for 30. When she is not on the road with NFL Films, Hannah is working with her parent's dog Winnie in agility training or taking still photos for fun. She lives in Haddon Heights, NJ.Hannah on Instagram @hannah.k.epsteinHannah's IMDB - https://www.imdb.com/name/nm13357021/Playlist: Wavelength - VanceJoy Sunrise - Norah JonesIvy - Taylor SwiftCrash Into Me - Dave Matthews BandBroken Halos - Chris StapletonKeep It Loose, Keep it Tight - Amos LeeLeon Bridges - Brown Skin GirlIf I Ain't Got You - Alicia KeysBeatles "Rubber Soul" Album Women visual artists I admire:Lynsey Addario (photojournalist, conflict photographer)Sophie Darlington (wildlife cinematographer)Dorothea Lange (documentary photographer)Krystle Wright (Nat Geo / Adventure photographer)Rachel Morrison (cinematographer/director of Photography) Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

This week's guest is Director of Photography and Cinematographer Hannah Epstein has been with National Football League (NFL) since 2012 and is the first female camera operator on the staff. Hannah was born in Pennington, NJ in 1990 to Terri, a writer and artist, and Jonathan, a lawyer. She has a brother Harrison who works in finance. In her youth, Hannah was a keen sportswoman and played on lacrosse and basketball teams. She became fascinated with cameras at any early age, vigorously studying the fine art of still photography, which provided the foundation for film. She attended Middlebury College in Vermont, which had a film and media culture and where she also enjoyed cinema studies. Hannah also spent a semester in Ireland where she produced music videos. In 2005, Hannah volunteered for the Israel Lacrosse organization, coaching kids and filming the program's U19 women's team. Back in the US, Hannah interned in the camera department of the NFL, which led to her current position as Staff Cinematographer. She was DP for HBO's “Hard Knocks Training Camp, and DP on the TV series Earnin' It and Abby's Places, and camera operator on 30 for 30. When she is not on the road with NFL Films, Hannah is working with her parent's dog Winnie in agility training or taking still photos for fun. She lives in Haddon Heights, NJ. Hannah on Instagram @hannah.k.epsteinHannah's IMDB - https://www.imdb.com/name/nm13357021/Playlist: Wavelength - VanceJoy Sunrise - Norah JonesIvy - Taylor SwiftCrash Into Me - Dave Matthews BandBroken Halos - Chris StapletonKeep It Loose, Keep it Tight - Amos LeeLeon Bridges - Brown Skin GirlIf I Ain't Got You - Alicia KeysBeatles "Rubber Soul" Album Women visual artists I admire:Lynsey Addario (photojournalist, conflict photographer)Sophie Darlington (wildlife cinematographer)Dorothea Lange (documentary photographer)Krystle Wright (Nat Geo / Adventure photographer)Rachel Morrison (cinematographer/director of Photography) Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.com

Episode No. 632 of The Modern Art Notes Podcast features curators Philip Brookman and Julian Brooks. Brookman is the curator of "Dorothea Lange: Seeing People," at the National Gallery of Art, Washington. The exhibition presents Lange's decades-long portraiture practice in over 100 photographs, pictures that range from the Great Depression through the 1960s. "Seeing People" is on view through March 31, 2024. The exhibition catalogue was published by the NGA in association with Yale University Press. Amazon and Bookshop offer it for $43-51. With Edina Adam, Brooks is the co-curator of "William Blake: Visionary," at the J. Paul Getty Museum, Los Angeles. Blake was a printmaker and painter who built an unconventional, fantastical, often narrative world view that he presented across both poetry and art. The presentation includes a colored copy of Blake's illuminated book America a Prophecy, a mindfully careful telling of the story of the American Revolution. "Blake" is at the Getty through January 14, 2024. The Getty-published exhibition catalogue is available from Bookshop and Amazon for $29-33.

Tess Taylor shares the fascinating story behind her latest anthology, "Leaning Toward Light: Poems for Gardens and the Hands That Tend Them." Tess's work serves as a beacon, urging humanity towards diversity, unity, and restorative hope. In this episode, we delve into gardening from the perspective of food justice and community building.  Whether you're a gardening enthusiast, a fan of poetry, or someone seeking to make a difference in the world, this episode will inspire you to get your hands in the soil.The anthology is available anywhere books are sold  BUT If you'd like a signed copy, contact Pegasus Books in Berkeley,  California (on Solano Street). Tess has generously offered to come into the store to personalize your copy. About Tess Taylor:Tess Taylor lives in El Cerrito, California, where she raises artichokes on the sidewalk median strip, has four chickens in the backyard, and is working to restore a community orchard. Her work as a writer deals with place, ecology, memory, and cultural reckoning.  She published five celebrated poetry collections: The Misremembered World, The Forage House,  Last West: Roadsongs for Dorothea Lange, Work & Days, and Rift Zone.  She has also been the on-air poetry reviewer for NPR's All Things Considered for over a decade. Her work as a cultural critic appears in Harpers Magazine, The Atlantic, The Kenyon Review, Poetry, Tin House, The Times Literary Supplement, CNN, and The New York Times.  She is currently at work on two plays, one of which is a stage adaptation of her book of poems about American photographer Dorothea Lange, and later this fall, she'll release a podcast called Intimate Addresses, about six extraordinary twentieth-century artists letters, with Anna Deveare Smith, and Getty. Her latest work, Leaning Toward Light: Poems for Gardens and the Hands that Tend Them, is a collection of contemporary gardening poems, for an era of climate crisis, which includes poems by some of the most luminary poets writing today. The word anthology means “bouquet or gathering of flowers,” and this bouquet does gather many incredible offerings of poetry. www.tesstaylor.comClick here for the free How to Eat Less Water CONDIMENT STORAGE TABLE. It is a printable list of popular condiments that belong in the pantry and those in the refrigerator that can be hung in your kitchen for easy reference.Download the TEN TIPS to EAT LESS WATER SUMMER PARTY PLANNING GUIDE for all the tips, steps, and info on celebrating like a kitchen activist with your friends and family. Find gifts designed to serve well-being at the Eat Less Water Shop. Get a copy of the EAT LESS WATER book.Reach me at info@eatlesswater.com

As global political leaders, key figures in the tech industry and academics meet at Bletchley Park in the UK for a two-day summit on artificial intelligence— discussing in particular the risks of these new technologies and how they could be mitigated—we look at a project that reflects AI's extraordinary potential. The Vesuvius Challenge aims to use AI to unlock the texts in the papyrus scrolls that were carbonised when the Roman city of Herculaneum was covered in ash and pumice after the eruption of the Vesuvius volcano in 79 AD. Brent Seales, the computer scientist behind the project, discusses the technologies involved and his optimism for a positive outcome. Then, Andrew Wallace-Hadrill, director of research and honorary professor of Roman Studies at Sidney Sussex College, Cambridge, tells us about Herculaneum and the Villa of the Papyri where the scrolls were recovered, and considers what the papyri might contain. In modern-day Italy, the country's culture minister has designated Pietrangelo Buttafuoco—a right-wing journalist and author whose books include a literary portrait of the notorious former Italian prime minister Silvio Berlusconi—as the next president of the Venice Biennale. It is the latest in a series of appointments that opposition politicians describe as “chilling”. We talk to The Art Newspaper's correspondent in Italy, James Imam. And this episode's Work of the Week is Dorothea Lange's photograph Maynard and Dan Dixon (1930). Philip Brookman, the curator of a new exhibition dedicated to Lange's portraiture at the National Gallery of Art in Washington, DC, tells us more.Vesuvius Challenge, visit scrollprize.orgDorothea Lange: Seeing People, National Gallery of Art, Washington, DC, 5 November-31 March 2024 Hosted on Acast. See acast.com/privacy for more information.

As we move toward October, the first a few intermittent episodes reminding us of the artistry behind our plant and garden love, the artistry underpinning mother nature herself. This week we're in conversation with artist Libby Ellis – photographer who sees the fullness of creation in the many faces of the flowers who delight us. Libby Ellis is a fine art photographer based on the island now known as Martha's Vineyard homeland of the Wampanoag people and nation who named the beautiful island Noepe. Monochromoatic and often single focused Ellis' work lands in my heart in a similar way as a Georgia O'Keeffe painting or a Dorothea Lange portrait – all of them capturing the essence of one subject while contributing insight into the workings of life itself – nature, plus the workings of humanity and its perceptions. In the case of Libby Ellis – the focal point include everyday flowers from Cosmos to musk roses, hibiscus to magnolia. And her work has been featured from various locations on Martha's Vineyard including the Featherstone Center for the Arts and the Carnegie Museum to London's Saatchi Gallery for the Royal Horticultural Society's 2022 Botanical Art and Photography exhibit, from the Harvard Divinity School to large scale projection against a high rise building in Denver, CO. Libby joins us from her studio in Edgartown MA (on the to share more about her photographic eye and gardener's heart.

¿Necesitas la mayor calidad en tu equipo? Normalmente, fotógrafos y videógrafas, siempre estamos mirando qué quipo comprar para mejorar la calidad de nuestros trabajos. Pero luego alucinamos con trabajos que sin saberlo están realizados con equipo antiguo. Y hablando de evitar errores, que mejor con agendar una consultoría de marketing o de técnica fotográfica con nosotros. Y así evitarte perder el tiempo. La primera mujer nominada al Oscar a mejor fotografía Y para abordar este tema hemos escogido la maravillosa y cruda Moodbound del 2017, dirigida por la estadounidense Dee Rees y fotografiada por la nominada Rachel Morrison con la que entro en la historia al ser la primera mujer en llevarse esta nominación. Moodbound es perfecta, para este episodio por dos cosas. Obviamente por su trabajo de fotografía, que tiene bebe mucho del trabajo de Dorothea Lange y por el equipo que uso para rodar toda la película. Y es que escogió ópticas antiguas por los "defectos" que tenían. Esto tendría que dar mucho que pensar. Y es justo lo que queremos fomentar en este episodio veraniego del podcast. ¿Te lo vas a perder? Gracias por suscribirte a los cursos, por tus valoraciones en Apple Podcasts, comentarios y me gusta en Ivoox, por escucharnos y seguirnos en Spotify. Un saludo y hasta el próximo lunes a las 07:00.

Rachel Eliza Griffiths is smart, she's funny and she's kind. She's a beautiful poet and a photographer, whose black-and-white images evoke for me, Dorothea Lange. Her latest book, Promise, tells the story of two Black sisters growing up in New England during the Civil Rights movement, the story of food at the table and food in the kitchen. For food is important to Eliza. Today in The River Cafe, we will talk together about friendship, memory, writing and love.Please rate & review the podcast on Apple podcasts, Spotify, IHeart Radio app or wherever you get your podcasts. For more information, recipes, and ingredients, go to: Web: https://rivercafe.co.uk/Instagram: www.instagram.com/ruthiestable4Facebook: https://en-gb.facebook.com/therivercafelondon/ For any podcast enquires please contact: willem.olenski@atomizedstudios.tv For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows.See omnystudio.com/listener for privacy information.

Elizabeth Partridge and Lauren Tamaki share Seen and Unseen, an important work of nonfiction featuring powerful images of the Japanese American incarceration captured by three photographers--Dorothea Lange, Toyo Miyatake, and Ansel Adams--along with firsthand accounts of this grave moment in history.   BOOK DESCRIPTION: Seen and Unseen: What Dorothea Lange, Toyo Miyatake, and Ansel Adams's Photographs Reveal about the Japanese American Incarceration by Elizabeth Partridge and Lauren Tamaki Page Length: 132 pages Ages 10 to 14, Grades 5 to 9 This important work of nonfiction features powerful images of the Japanese American incarceration captured by three photographers--Dorothea Lange, Toyo Miyatake, and Ansel Adams--along with firsthand accounts of this grave moment in history. Three months after Japan attacked Pearl Harbor in 1941, US President Franklin D. Roosevelt ordered the incarceration of all Japanese and Japanese Americans living on the West Coast of the United States. Families, teachers, farm workers--all were ordered to leave behind their homes, their businesses, and everything they owned. Japanese and Japanese Americans were forced to live under hostile conditions in incarceration camps, their futures uncertain. Three photographers set out to document life at Manzanar, an incarceration camp in the California desert: Dorothea Lange was a photographer from San Francisco best known for her haunting Depression-era images. Dorothea was hired by the US government to record the conditions of the camps. Deeply critical of the policy, she wanted her photos to shed light on the harsh reality of incarceration. Toyo Miyatake was a Japanese-born, Los Angeles-based photographer who lent his artistic eye to portraying dancers, athletes, and events in the Japanese community. Imprisoned at Manzanar, he devised a way to smuggle in photographic equipment, determined to show what was really going on inside the barbed-wire confines of the camp. Ansel Adams was an acclaimed landscape photographer and environmentalist. Hired by the director of Manzanar, Ansel hoped his carefully curated pictures would demonstrate to the rest of the United States the resilience of those in the camps. In Seen and Unseen, Elizabeth Partridge and Lauren Tamaki weave together these photographers' images, firsthand accounts, and stunning original art to examine the history, heartbreak, and injustice of the Japanese American incarceration. NOTABLE QUOTES: (7:50) “There was a kid in my class named Paul Yanamora who said in front of the whole class that his family had not been allowed to buy a house in our neighborhood after the war because they were Japanese American. And I was absolutely shocked. That's when it totally hit me that something really bad had happened in our country that I did not understand.” (8:44) I didn't know my grandparents' involvement until working on this book, how their families were involved. And it, it was just something that… “Oh, we left. We got over it. We left it behind. Look how successful we are. We don't have to talk about it.” (12:30) “The two of us got to work together in a collaboration that's almost never allowed in doing a book together, which is usually the writer writes their bit and then they pull out and then the illustrator gets to work. But there was too many overlaps. I mean, I had the photos and then Lauren had these ideas and then she was like, “Well, if you could do this photo, I could do this illustration.” I'm like, “Huh! That's a fantastic idea. Let's swap photos.” So we just really shifted things around and it ended up letting both of us go so much deeper than we would've individually.” (19:55) “Because you can talk in these grand kind of monolithic ways about an experience and about a people, but when you personalize it, that's when you can touch people.”  (25:33) “There was so much of myself in this book.” (25:42) “It's never too late to discover parts of yourself, like, these big parts of yourself.” (26:47) “Today, everybody has a cell phone and there's a camera in the cell phone. So we have a very powerful tool for social justice in our back pocket. And I just wanna encourage people when you see something that just doesn't feel right, you can bear witness to that by taking a photograph.”  (27:45) “You can't let fear make the decisions for you.” ADDITIONAL LINKS: Elizabeth Partridge website - elizabethpartridge.com.  Lauren Tamaki website - laurentamaki.com Purchase the Book - Seen and Unseen: What Dorothea Lange, Toyo Miyatake, and Ansel Adams's Photographs Reveal about the Japanese American Incarceration TALK ABOUT THE EPISODE: What is an event that took place in history that you learned about recently? What was it like for you to learn this information? If able to make the connection, how do these historic events connect with our world today? Look up photos by one of the three photographers mentioned in this podcast episode: Dorothea Lange, Toyo Miyatake, or Ansel Adams. How would you describe the moment captured in the photograph? What does it make you feel? What do you think the photographer was communicating through this photograph? Talk with a grownup about the Japanese American incarceration. What (if anything) do they remember about this event? When did they learn about the incarceration? If able to recall, what did they feel when they first learned about the incarceration? And how do they feel about the incarceration now? Share your own reflections with the grownup. CREDITS: This podcast episode of The Children's Book Podcast was written, edited, and produced by Matthew Winner. For a full transcript of this episode, visit matthewcwinner.com.  Write to me or send me a message at matthewmakespods@gmail.com.  Our podcast logo was created by Duke Stebbins (https://stebs.design/).  Our music is by Podington Bear.  Podcast hosting by Libsyn.  You can support the show and buy me a coffee at www.matthewcwinner.com. We are a proud member of Kids Listen, the best place to discover the best in kids podcasts. Learn more at kidslisten.org. Fellow teachers and librarians, want a way to explore building a stronger culture of reading in our communities? In The Reading Culture podcast, Beanstack co-founder Jordan Bookey hosts conversations that dive into beloved authors' personal journeys and insights into motivating young people to read. And I am a big fan! Check out the Reading Culture Podcast with Jordan Bookey, from Beanstack. Available wherever podcasts are found. DISCLAIMER: Bookshop.org affiliate links provided for any book titles mentioned in the episode. Bookshop.org support independent bookstores and also shares a small percentage of any sales made through this podcast back to me, which helps to fund production of this show.

The sisters conclude their death and spectacle series with further thoughts on the dead deprived of commemoration.  From the repository of graves on New York City's Hart Island to the erasure of historic Black cemeteries in the American South, they explore the ways in which human remains are stratified, relegated and discarded in ways that lay bare the injustice of life.Or, in the case of Body Worlds, forever plastinated and displayed for public view—without their owners' consent—in what Edward Rothstein described as an act of “aestheticized grotesqueness.”  What makes certain land and bodies sacred (or literally, saintly) while rendering others disposable? What can the living learn from the politics of remembering and forgetting remains? Sources cited include Joan Didion's South and West, Zora Neale Hurston's Their Eyes Were Watching God, Eliza Franklin's Lost Legacy Project for the UCLA Urban Humanities Initiative, Susan Sontag's "On Photography," the Equal Justice Initiative's Community Remembrance Project, Jacqueline Goldsby's A Spectacular Secret, Dorothea Lange's 1956 photographs of California's Berryessa Valley, Marita Sturkin's “The Aesthetics of Absence,” Seth Freed Wessler's 2022 ProPublica investigation “How Authorities Erased a Historical Black Cemetery in Virginia,” Robert McFarlane's 2019 New Yorker piece “The Invisible City Beneath Paris,” Melinda Hunt's Hart Island Project (www.hartisland.net), Nina Bernstein's 2016 New York Times piece “Unearthing the Secrets of New York's Mass Graves,” “Young Ruin” from 99% Invisible, and NPR's 2006 reporting on ethical concerns over Body Worlds.Cover photo of Hart Island's common trench burials is by Jacob Riis, 1890.

On May 26, 1895, the photographer Dorothea Lange is born. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today is the birthday of photographer Dorothea Lange, 1895, whose photo “Migrant Mother” is one of the most iconic images of the Great Depression.