Podcasts about On Photography

“Civil War,” Alex Garland's divisive new action flick, borrows iconography—and actual footage—from the America of today as set dressing for a hypothetical, fractured future. Though we know that the President is in his third term, and that Texas and California have formed an unlikely alliance against him, very little is said about the politics that brought us to this point. Garland's true interest lies not with the cause of the carnage but with the journalists compelled to document it. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz debate whether the film glamorizes violence, or whether it's an indictment of the way audiences have become inured to it through repeated exposure. The hosts consider Susan Sontag's “On Photography,” which assesses the impact of the craft, and “War Is Beautiful,” a compendium that explores how photojournalists have historically aestheticized and glorified unthinkable acts. From the video of George Floyd's killing to photos of Alan Kurdi, the young Syrian refugee found lying dead on a Turkish beach, images of atrocities have galvanized movements and commanded international attention. But what does it mean to bear witness in the age of social media, with daily, appalling updates from conflict zones at our fingertips? “I think all of us are struggling with what to make of this complete overabundance,” Schwartz says. “On the other hand, we're certainly aware of horror. It's impossible to ignore.”Read, watch, and listen with the critics:“Civil War” (2024)“Ex Machina” (2014)“Natural Born Killers” (1994)“The Doom Generation” (1995)“War Is Beautiful,” by David Shields“On Photography,” by Susan Sontag“Joan Didion: The Center Will Not Hold” (2017)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

On Photography asks what it means today for an artist to work with a living, breathing icon, like the actress Tilda Swinton. Tim Walker, the noted artist and photographer, is joined by his long-time collaborator, stylist Jerry Stafford, to talk about their work together with Tilda Swinton. Dr Nicholas Cullinan, Director of the National Portrait Gallery, London, moderates the conversation. 'When I'm scared of something or someone, that scare turns into being photogenic. […] The situation becomes very heightened and I become very alert and I then I think I make better work.' – Tim Walker Tim Walker is a photographer for Vogue's British, Italian and American editions, as well as W Magazine and LOVE Magazine. Jerry Stafford is a writer and curator. He is creative director at Paris-based film production company Premiere Heure and personal stylist to performers Tilda Swinton and Gwendoline Christie. Dr Nicholas Cullinan is Director of the National Portrait Gallery, London.  Find images of the artwork discussed here. This episode is presented in collaboration with the National Portrait Gallery. About Frieze Masters Podcast Series two of the Frieze Masters Podcast is now available, bringing you our annual programme of live talks – the Frieze Masters Talks programme – curated by the Director of the National Portrait Gallery, Dr Nicholas Cullinan. These eight conversations between leading artists, writers, museum directors and curators all reflect the ethos of the Frieze Masters fair: looking at the past with a contemporary gaze. The Frieze Masters Talks programme and the Frieze Masters Podcast are brought to you by Frieze in collaboration with dunhill, the foremost British luxury menswear house. This podcast is a Reduced Listening production. The producer was Silvia Malnati and sound engineer was Andy Fell. About Frieze Frieze is the world's leading platform for modern and contemporary art, dedicated to artists, galleries, collectors and art lovers alike. Frieze comprises three magazines –

Kan ett gammalt foto få dig att återupptäcka den du en gång var? Christine Antaya reflekterar över ett borttappat fotografi och ett misslyckat minnesarbete och varför det är ok att minnas fel. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Jag var 19 år och hade precis tagit studenten när jag åkte till Göteborg för att demonstrera under EU-toppmötet 2001. Jag minns väldigt lite därifrån. Jag vet namnen på några jag var där med – Erik, Martin, Nanna, Kerstin – men vi har inte haft kontakt på länge.Jag vet att jag greps på Viktoriabron (att bron hette så har jag insett först i efterhand) och jag vet att jag satt några timmar i en provisorisk arrest. Det var som burar av hönsnät. Jag minns att de tog min klocka och mina skosnören. Jag fotograferades, och fick fotot när jag släpptes. Det var fyrkantigt, utskrivet på väldigt tunt papper.På bilden stod jag i mitten flankerad av två poliser i tjocka uniformer som höll mig i var sin arm. Poliserna var långa och kraftiga, deras ansikten överstrukna med svart tusch. Mitt hår var kortklippt och rödfärgat, men det syntes inte för fotot var svartvitt. I födelsedagspresent några månader tidigare hade mina vänner samlat ihop till ett presentkort hos en frisör, så jag var tvungen att göra något radikalt. I juni hade det vuxit ut till en tufsig frisyr som i kombination med mitt mjuka ungdomshull fick mig att se ännu mer ut som ett barn.På fotot hade jag en bylsig Miljöpartiet-tröja på mig. Jag var inte engagerad i partiet, jag måste ha fått den där i Göteborg. Jag var i en ålder då jag gladdes över allt som var gratis. Min blick var riktad lite ut ur bilden, nedåt. Jag såg uttråkad ut. Jag minns inte fototillfället, men jag antar att det gick väldigt snabbt, de hade många att fotografera.Jag hade kvar fotot länge men nu är det borta, försvunnet i någon flytt. Jag var dum som inte digitaliserade det, men det finns kvar som en ungefärlig bild i mitt huvud. Jag tyckte om fotografiet för dess motiv – det fick mig att känna mig radikal och speciell – men jag tyckte även om det som objekt. Det var så tunt och provisoriskt, lite mystiskt i sin form. Det var ett bevis på att något verkligt hade hänt mig, att jag hade befunnit mig i händelsernas centrum. Jag har inga andra bilder därifrån. Jag minns inte om jag ens hade med mig en kamera dit.Nils Petter Löfstedts dokumentärfilm om Göteborgskravallerna, På Hvitfeldtska bodde vi, bygger på hans fotografier från den gymnasieskola där demonstranterna skulle sova, som polisen omringade den första dagen av toppmötet. I filmen söker Löfstedt upp några av personerna som figurerar på bilderna och intervjuar dem om vad de minns. De har aldrig sett bilderna tidigare, och ibland har de svårt att identifiera sig själva. En av dem tvekar med pekfingret över ett fotografi som föreställer en stor grupp som sitter i något slags stormöte på skolgården: ”Är det där verkligen jag?”Konstnären Moyra Davey har beskrivit hur djupdykningar i fotografiska arkiv börjar med oro över att man inte ska finna det man letar efter. Men ofta är det i slutänden tillfredsställande, lite som att dyka ned i det undermedvetna och återupptäcka bortglömda versioner av jaget. Några dagar innan jag skulle se filmen greps jag av en känsla av hopp om att jag skulle få syn på mig själv. Jag var inte en av dem som blev fast inne på Hvitfeldska och jag hade antagligen inte fångats av Löfstedts kamera, men kanske skulle bilderna svara mot liknande bilder som jag hade i min egen minnesbank, och blåsa liv i dem. Jag såg fram emot att få hjälp med att minnas.Men samtidigt var jag rädd att minnena inte längre kunde väckas, att de hade torkat ihop och dött, likt en gulnad växt som inte kan bli grön igen hur mycket sol och vatten den än får. Tänk om det skulle vara som att betrakta något utifrån, något som inte hade med mig att göra?Ungefär mitt i dokumentärfilmen började jag gråta, och fortsatte tills ljuset i salen tändes. Jag grät över att inte längre vara ung. Hur kan det kännas annat än sorgligt att det är så? Jag grät över att se tiotusentals ungdomar samlas i idealistisk iver över en mer rättvis värld utan krig och miljöförstöring, något som känns omöjligt idag. Jag grät för att jag tyckte synd om dem som var med i filmen. De såg så små ut. Jag grät när jag såg polisvåldet.Men allt det som filmen rörde upp i mig var så kopplat till nuet, i den mån det var minnen så var de grumliga, med romantiska idéer om ungdom. Jag hade hoppats att något mer verkligt skulle segla upp i min hjärna, något som definitivt fastslog: ”Så var det, så var du då”.I essäsamlingen Still Pictures. On Photography and Memory från 2022 skriver den amerikanska journalisten Janet Malcolm: ”Det mesta av det som händer oss minns vi inte. Händelserna i våra liv är som fotografiska negativ. De få som kommer i kontakt med framkallningsvätskan och blir fotografier är vad vi kommer att kalla minnen.”Malcolm dog 2021 och boken, som utgår från ett antal gamla fotografier från hennes personliga arkiv, gavs ut postumt. Den behandlar inte enbart familjefoton som alltid stått framme, snarare är det de mer oväntade bilderna som hon utvinner mening ur: ett suddigt foto från ett sommarläger på 1940-talet, ett porträtt på några goda vänner till hennes föräldrar. Hon skriver om det hon minns, vilket sällan är exakt vilka alla i bilderna är, eller hur och när fotografierna är tagna.En essä inleds med ett foto av en väninna iklädd en prydlig dräkt, med håret lockat under en basker. Flickan hette Francine, och beskrivs som en ”bad girl” som Malcolms föräldrar inte gillade. Hon minns att de drack milkshake efter skolan och att Francine såg upp från sitt glas och sa: ”It tastes so good”. En så banal sak att minnas. Att de obetydliga orden stannade kvar i hennes minne medan mer betydelsefulla samtal har försvunnit beskriver Malcolm som ett exempel på ”minnets perversitet.”När jag läser henne inser jag att min oförmåga att minnas – händelserna i Göteborg men även annat i mitt liv – har fått mig att känna mig dålig. Som att jag inte lever grundligt nog när jag låter det som utgjort min tillvaro – händelser, relationer, platser – blekna bort i takt med att jag åldras. Men Malcolm hjälper mig att acceptera att min fläckvisa minnesväv inte är ett tecken på personlig underlåtenhet. Det är helt enkelt så det är att leva. Minnet är perverst. Frågan är om det där fotot på mig med poliserna ens såg ut så som jag nyss beskrev det. Men mitt misslyckade minnesarbete känns ok nu. Varken minnet eller fotografier kan ge kompletta versioner av det förflutna. Och även om gamla fotografier får oss att minnas ”fel” saker, och aldrig kan återställa det som har varit, är det svårt att tänka sig något annat enskilt objekt som på samma sätt kan ge upphov till nya berättelser.Jag tycker om tanken på fotografiet som en generator, något som alstrar nya ord och idéer. Det kan ligga bortglömt i decennier, utan att förlora sin kraft. Christine Antaya är konstkritiker och kulturskribent. Litteratur:Moyra Davey, Index cards (2020)Nils-Petter Löfstedt (foto), Daniel Möller (text), På Hvitfeldtska bodde vi (2023)Janet Malcolm, Still Pictures. On Photography and Memory (2022)Film:Nils-Petter Löfstedt, På Hvitfeldtska bodde vi (2023)

In this episode Barry and Mike discuss Susan Sontag's essay In Plato's Cave from her book: On Photography. In this essay Sontag argues that photographs are much like the images that the prisoners in Plato's cave see reflected on the walls: representations of reality, but not reality itself. Sontag argues that, like Plato's prisoners, we too have difficulty distinguishing the image from the event that they represent. Additionally, she claims that these images, though different than what they represent, still have the power to produce an emotional response from viewers. Barry and Mike bring Sontag's arguments from 1977 to our current digital existences and investigate current experiences with images, noting that in many ways the differences between the real and the image, as well as the implications of our difficulties in distinguishing between the two haven't changed all that much in the last 45 years. They focus on Sontag's claims about nostalgia and negative empathy as being products of our interactions with photography and try to figure out what that means in our current situation.

Last Thursday I was thrilled to speak with Idris Murphy, leading contemporary artist and a previous podcast guest, in front of a live audience at the S.H.Ervin Gallery in Sydney. It's where the survey exhibition of his work, 'Idris Murphy: Backblocks' is now showing and continues until 26 March 2023. Curated by Terence Maloon, it features breathtaking work predominantly from the last two decades. Paintings which shimmer, glow, and transport the viewer.  Idris talked with me about his career including the stories behind several works, the influence indigenous culture has had on his approach and how he works in the studio. Although this exhibition is impressive in its quality and depth, this isn't the first survey show of Idris's work. The exhibition ‘I and Thou' in 2009/2010 had highlighted the preceding 30 years of work. He has exhibited in over 40 solo shows over the years with work in major public collections including  the National Gallery of Australia and Art Gallery of NSW. Thanks to everyone who came along!  I also filmed our conversation and will be uploading an edited version of this chat to the TWP YouTube channel in the coming months. Idris is represented by King Street Gallery in Sydney. Photo of Idris Murphy in his studio (2022) by me Current exhibition 'Idris Murphy: Backblocks', S.H.Ervin Gallery, Sydney, until 26 March 2023 Links Idris Murphy's website Idris Murphy at King Street Gallery Previous podcast interview with Idris Murphy: Episode 131 Henri Matisse Clip of the American writer I refer to in the episode at about 6:40 - Etel Adnan - on beauty  Susan Sontag - 'On Photography' Jeanette Winterson Annie Dillard Rose Wylie John Berger  The quote we refer to is from his book 'and our faces, my heart, as brief as photos' Bono - 'Surrender' Nick Cave Badger Bates Tickets to Artist Talk with Nick Stathopoulos at AGNSW Subscribe to the TWP monthly newsletter  Installation photo - S.H.Ervin Gallery (see below for individual works) 'Somewhere in France 1', 2017, acrylic and collage on aluminium, 151 x 141cm ANU Art Collection 'Somewhere in France 2', 2017, acrylic and collage on aluminium, 151 x 141cm ANU Art Collection 'Somewhere in France 3', 2017, acrylic and collage on aluminium, 151 x 141cm ANU Art Collection 'Half Moon at the New', 2015, acrylic on aluminium, 153 x 153cm Courtesy of the artist and King Street Gallery 'Weipa Harbour Storm', 2005, acrylic and collage on board, 120 x 120cm 'Low tide Boodery National Park', 2015, acrylic and collage on board, 150 x 150cm Private collection

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.

“Travel expands time, because you're not experiencing the everyday of what you normally do. It's all about discovery, and experiencing that with other people.” —Pegi Vail In this episode of Deviate, Rolf and Pegi talk about how she originally sought to depict a "visual ethnography" of world travelers, their global impacts, and their power as a "gentrifying" force (2:00); how the world of travel has (and hasn't) changed since Pegi made her film ten years ago, and how immigrants and migrant workers also represent travel communities just like backpackers and expats (11:00); the ways the notion of "journey" can serve as a metaphor for non-travel experiences, and how travel can expand one's sense of time (26:30); what stories travelers choose to tell about places, and how drug-scenes have fueled travel communitas over the years (31:00); the role digital photography now plays in travel, and the individualized notion of what an "explorer" is (39:30); and the importance of allowing yourself to get lost on that road, the "structured danger" of most adventure travel, and relying on your "personness" (rather than technology) as a traveler (49:00). Pegi Vail is an anthropologist and filmmaker who directed the documentary Gringo Trails.  She is also a sustainable-travel consultant whose academic work has focused on visual anthropology, Indigenous media, and the role of storytelling to the political economy of tourism in the developing world. She is the Co-Director of New York University's Center for Media, Culture, and History. Vail is a founding member, curator, and featured storyteller of the popular not-for-profit storytelling collective, The Moth. Notable Links: The Vagabond's Way, by Rolf Potts (travel book) Williamsburg (gentrified neighborhood in Brooklyn) Banana Pancake Trail (travel circuit in SE Asia) Lower East Side Tenement Museum (historic site in NYC) History of hosteling (inexpensive lodging system) Hippie Trail (overland travel circuit in 1960s and 1970s) The Great Gatsby, by F. Scott Fitzgerald (novel) Hmong people (ethic group in SE Asia) Nelson H. H. Graburn (anthropology scholar) Communitas (communities created by shared endeavor) Arnold van Gennep (ethnographer who coined "rites of passage") Chaebol (South Korean industrial conglomerate) Rolf and Ari Shaffir talk psychedelics (Deviate episode) Backpack Ambassadors, by Richard Ivan Jobs (book) Margaret Mead Film Festival (documentary film festival) Spike Lee (American filmmaker) Melvin Estrella (Pegi's partner and film producer) J. Edgar Hoover (American law-enforcement administrator) Eurail Pass (European train pass popular with backpackers) On Photography, by Susan Sontag (book) The Explorers Club (professional club in New York) Saul Bellow (American novelist) A Field Guide to Getting Lost, by Rebecca Solnit (book) Beryl Markham (British-African aviator and author) Digital detoxing (intentional refrain from using digital devices) Hippocampus (part of the brain) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

“There's no getting lost when you travel, because you're already there. You're already where you're supposed to be, which is somewhere in this new place.” –Ari Shaffir In this episode of Deviate, which took place at New York City's KGB Bar, Rolf and Ari talk about the premise of Rolf's new book The Vagabond's Way (2:20); why it's important not to postpone one's dream travels to a seemingly more appropriate time of life, and how it's hard for your friends to appreciate and understand your travels when you get home (7:30); how to not let your smartphones and photographs get in the way of your best journey (15:00); how to best decide where to start on a journey, and why allowing yourself to get lost is sometimes the best way to find experiences a place (23:00); why the philosophical concept of "time wealth" is important to Rolf, and how travel allows you to express a unique feeling freedom (31:30); how the The Vagabond's Way is the "spiritual successor" to Vagabonding, and how Rolf keeps travel in conversation with his home life in Kansas (36:00); and how to savor a new place in the moment, even as that place is changing (44:00). Ari Shaffir (@AriShaffir) is a comedian, writer, podcaster, and actor. He is the host of the Skeptic Tank podcast. His new comedy special, JEW, is available on YouTube. Notable Links: Paris Writing Workshops (Rolf's summer creative writing classes) The Vagabond's Way, by Rolf Potts (travel book) Henry Rollins on Ari's podcast Skeptic Tank Commonplace book (method of compiling knowledge) Jasmin Shah (photographer) Wenamun (ancient Egyptian traveler) Matsuo Bashō, (Japanese poet and traveler) On Photography, by Susan Sontag (book) Mentawai people (inhabitants of islands near Sumatra) Cypress Hill (American hip-hop group) Pico Iyer (travel writer) Pagan Holiday, by Tony Perrottet (book) Icelandic Sagas (Nordic historic narratives) Koshary (Egyptian national dish) Chefchaouen (city in Morocco) Tétouan (city in Morocco) Inle Lake (lake in Myanmar) Eddy L. Harris (travel writer) Aosta Valley (region in the Italian Alps) Instagram shot of Rolf's first vagabonding trip Mary Oliver (American poet) Lindsborg, Kansas ("Little Sweden") Lower East Side (neighborhood in Manhattan) Umbria (region in Italy) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

In this special spooky episode, Ellie and Carrie discuss the cultural logic of hauntings in both American history and their own lives. They grapple with childhood notions of their late father's ghost, something Carrie feared and Ellie denied. Understanding hauntings as living loss, they bring in the work of historian Tiya Miles, whose book Tales from the Haunted South offers ghost stories as potentially radical works of historiography that often deal with narratives left out of the official record. But such narratives are also taken less seriously because they are ghost stories. For Miles, the Native American ghost and the enslaved ghost play twin roles interrogating trauma in the American gothic. Ellie offers a brief history and social explanation of the Salem witch trials, undergirded by patriarchal prescriptions and the anxieties of Puritan predestination. Meanwhile, how have misogynistic conceptions of women as vessels prone to hysteria colored female possession narratives from Dido to Bertha Mason to Regan MacNeil (a.k.a. the Exorcist girl, who's chained to a bed while the Devil makes her say "Fuck me! Fuck me!")? During the Victorian era, women spiritualists used such stereotypes to their advantage, finding their own voices while speaking for the undead. Other topics include the role of inherited trauma in the most powerful horror stories (see the Graham family in Ari Aster's Hereditary), queerness and ghosts (see Dani in The Haunting of Bly Manner), and the relationship between 19th-century spiritualism and technology, especially when it came to the new medium of photography. In addition to Miles, books referenced are Judith Richardson's Possessions: The History and Uses of Haunting in the Hudson Valley, Renée L. Bergland's The National Uncanny, Sacvan Bercovitch's The American Jeremiad, and, of course, Susan Sontag's On Photography and Regarding the Pain of Others. Articles are “Most witches are women, because witch hunts were all about persecuting the powerless” by Bridget Marshall for The Conversation (2019), “Why Did So Many Victorians Try to Speak with the Dead” by Casey Cep for the New Yorker (2021), and “What Ghost Stories Taught Me About My Queer Self” by Nell Stevens for the New Yorker (2022).

Susan Sontag's "On Photography" is a seminal work about the practice and art of photography. Written in the 1970s, it remains to be a text that is studied by hobbyists, professionals, historians, and academics alike. My guest, who is a professional photographer based in Indianapolis, discusses his reaction to the work, his disagreements, and a once-unknown photographer that Sontag devotes much of one chapter to. -- Interested in purchasing this title? Considering buying from the following link to support local bookshops and this podcast! https://www.bookshop.org/a/79981/9780312420093 -- Host: Kyle Johnson (@panic_kyle); Guest: Zach Dobson (www.zachdobson.com/); Music: Julian Loida (www.julianloida.com); -- Get in touch with the show! panic.kyle.tt@gmail.com

Recommend this show by sharing the link: pod.link/2Pages A young woman stands, one hand on top of a chair, the other holding a bouquet of leaves. She stares directly into the lens of the camera; it's not clear what she's thinking. She's wearing a long, dark dress with long sleeves and a white collar that covers her neck. It's old-fashioned, colonial. A simple crucifix hangs from her neck. She's an indigenous Australian –an aboriginal– and behind her is a lush landscape - it's actually a tapestry of a landscape, and the picture is blue– the blue you might know if you've ever seen crockery with the willow pattern-spode china. This is a piece of art called A gaze still dark (a black portrait of intimacy), and the subject is Danie Mellor's grandmother.   Danie Mellor created this piece of art. He's a brilliant Australian artist whose work provokes questions about the intersection between colonial and contemporary in historic cultures. His work can be found in museums around the world, including The National Gallery of Canada, The British Museum, The National Museum of Scotland, and in Canberra's own National Gallery of Australia, which is where I saw this painting and thought, ‘I need to speak to this person.' Get‌ ‌book‌ ‌links‌ ‌and‌ ‌resources‌ ‌at‌ https://www.mbs.works/2-pages-podcast/  Danie reads from ‘On Photography' by Susan Sontag. [reading begins at 13:51]  Hear us discuss:  The art and evolution of photography: “The photograph is a way of stopping the march of mortality.” [19:26] | Incorporating play into your work. [27:24] | Knowing when to stop what you're doing, and work on something else: “There's a degree of innovation in the way that ideas express themselves in material form.” [36:43] | “You have control over the quality of work you offer, but not over how it's received.” [44:29]

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Susan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne's College, Oxford.Her books, all published by Farrar, Straus & Giroux, include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, FSG published A Susan Sontag Reader. Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award forOn Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.Ms. Sontag died in New York City on December 28, 2004.From http://www.susansontag.com/SusanSontag/index.shtmlFor more information about Susan Sontag:Previously on The Quarantine Tapes:Maggie Nelson on Sontag, at 19:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-048-maggie-nelsonRosanne Cash on Sontag, at 12:13: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-015-rosanne-cash“Susan Sontag, The Art of Fiction No. 143”: https://www.theparisreview.org/interviews/1505/the-art-of-fiction-no-143-susan-sontag“Where to Start with Susan Sontag”: https://www.nypl.org/blog/2017/01/13/where-to-start-susan-sontag“An Interview with Susan Sontag”: https://bostonreview.net/articles/susan-sontag-interview-geoffrey-movius/Photo by Lynn Gilbert

What is Photography, is the title for Season 2 of 2022. Thomas of On Photography will discuss what is photography from a beginner stand point. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/on-photography/message Support this podcast: https://anchor.fm/on-photography/support

Season 2 - Episode 1 - Thomas from On Photography will announce up-coming projects and will also announce up-coming viewings of his work. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/on-photography/message Support this podcast: https://anchor.fm/on-photography/support

Teaser for 2022 On Photography with Thomas. All new episodes, and special episodes as well for 2022. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/on-photography/message Support this podcast: https://anchor.fm/on-photography/support

Season 1 - Episode 11, returns with all new branding. Switching from Art's & Craft's Today to On Photography with Thomas Vasas. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/on-photography/message Support this podcast: https://anchor.fm/on-photography/support

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Susan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne's College, Oxford.Her books, all published by Farrar, Straus & Giroux, include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, FSG published A Susan Sontag Reader. Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award forOn Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.Ms. Sontag died in New York City on December 28, 2004.From http://www.susansontag.com/SusanSontag/index.shtmlFor more information about Susan Sontag:Previously on The Quarantine Tapes:Maggie Nelson on Sontag, at 19:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-048-maggie-nelsonRosanne Cash on Sontag, at 12:13: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-015-rosanne-cash“How Susan Sontag Taught Me to Think”: https://www.nytimes.com/interactive/2019/10/08/magazine/susan-sontag.html“Susan Sontag, The Art of Fiction No. 143”: https://www.theparisreview.org/interviews/1505/the-art-of-fiction-no-143-susan-sontag

On Photography with Thomas Vasas, is the host of the new re-branded from Art's & Craft's Today, which end out in December 2021, and On Photography will take over in December 2021. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/on-photography/message Support this podcast: https://anchor.fm/on-photography/support

In this afikra FWD, Tanya Sukkari talked about "On Photography in Lebanon" from Kaph Books. On Photography in Lebanon is a book in which forty contributors share their perspectives on photography in Lebanon, evoking its equally numerous forms of existence. Examining techniques, practices, uses, objects, images, histories, and artistic approaches, this publication presents 380 photographs produced between the end of the 19th century and the present day. Note: Tanya is not an expert on this subject but is sharing information in the hopes of spurring interest in the subject.Hosted by: Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by The Brooklyn Nomads https://www.instagram.com/thebrooklynnomads/About the afikra Community Presentations:A community member delivers an in-depth presentation on a ‎topic related to the Arab world's history and culture during a one-hour online event. The presentation is the ‎culmination of a month-long afikra coaching process to help identify a topic, find research, and develop the ‎presentation. The goal is to showcase the presenter's curiosity, research, and share some knowledge. Each ‎presentation is followed by a moderated Q&A with questions coming from the live virtual audience on Zoom.  ‎Join the live audience: https://www.afikra.com/rsvp Follow Youtube - Instagram (@afikra_) - Facebook - Twitter Supportwww.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity.Read more about us on afikra.com

Today's Quotation is care of Susan Sontag.Listen in!Subscribe to the Quarantine Tapes at quarantinetapes.com or search for the Quarantine Tapes on your favorite podcast app! Susan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne's College, Oxford.Her books, all published by Farrar, Straus & Giroux, include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, FSG published A Susan Sontag Reader. Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award forOn Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.Ms. Sontag died in New York City on December 28, 2004.From http://www.susansontag.com/SusanSontag/index.shtml For more information about Susan Sontag:Previously on The Quarantine Tapes:Maggie Nelson on Sontag, at 19:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-048-maggie-nelsonRosanne Cash on Sontag, at 12:13: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-015-rosanne-cash“How Susan Sontag Taught Me to Think”: https://www.nytimes.com/interactive/2019/10/08/magazine/susan-sontag.html“Susan Sontag, The Art of Fiction No. 143”: https://www.theparisreview.org/interviews/1505/the-art-of-fiction-no-143-susan-sontag

Felix Kunze has found a way to marry his passions with his art. His masterful use of lighting helps him to create dynamic portraits of people in extreme or exaggerated situations. Lately he's been spending time photographing the explorers, scientists, and adventurers who are looking for ways to move the world forward.   Listen as we discuss why he's so passionate about lighting, how he gains new clients, and what he's looking forward to in the rest of 2021. This was an amazing conversation with a true master of lighting and portraiture and speaks to the need of following your passion to find your success.    Don't forget to check out his free training, The Lighting Series, and join his group!    Links and Resources:  On Photography with Susan Sontag On Being a Photography by David Hurn and Bill Jay The Explorer's Club   Connect with Felix:  Felix's Website Felix on Instagram Felix on YouTube The Lighting Series Felix's Facebook Group   Connect with Adam:  Adam's Website Adam on Instagram Adam on Facebook The Bearded Tog on YouTube The Bearded Tog Patreon Group Download the Wedding Guide Template   Monthly Workshops

You've just started a photo-a-day project, or a long-term artistic endeavor, and for the most part you're flying solo, following your own set of rules. How do you ensure you stay on track, don't miss any days, or compromise your artistic vision? "On Photography" by Susan Sontag (PDF) Support the show: buymeacoffee.com/photo365 Need a photography portfolio site? Check out Format.com (Affiliate link) My photography site: ahaworth.com

Today's guest is an Irishman, a Dubliner to be precise who has for the past 12 years called NYC home. He calls himself the CONTRARY MAN, someone who has followed his own path and earned great experience along the way. I like to think of him as an ethnographer because through his Socially Conscious Photography he aims to create awareness of issues affecting youth culture and to break the cycle of negativity, his image narrate and explores the contemporary. Susan Sontag in her book ‘ON PHOTOGRAPHY’ said, “The painter constructs, the photographer discloses.” I find this quote reflects today's guest, I’m happy to welcome James Mooney Follow James on: @pointshootthink Editing: @sscsierra Music: @gulasound

In her classic essay On Photography, Susan Sontag makes the statement: Photographing is essentially an act of non-intervention. So in this week's podcast, I thought we would take a look at that quote and discuss how photographing and the viewing of photographs can be a non-intervening act. The photographs we make that are significant to us, and some of the photographs we view have a lasting impact. These things become acts and objects of the intervention. These photographs and the act of photographing can have a lasting effect on what we do and who we are. These images can become interventions in our lives that shift how we think, what we do, and what we believe.

Hey Dude, while standing in the rain, I riff about three towering North Hollywood Huskies: musician D.J. Bonebrake, writer Susan Sontag, and artist Bobby Doran. PEOPLE: X, Erin Moran, John Williams, Garry Marshall, Patti Smith, Lenny Kaye  PLACES: North Hollywood High School THINGS: "Alphabetland", "On Photography", Facebook, YouTube SOUNDS: rain, footsteps, "Laguna Cowbell Chimes", airplane, birds GENRE: storytelling, personal narrative, personal journal PHOTO: "DJ, Susan and Bobby" shot by D.J. Bonebrake  RECORDED: May 18, 2020 in the new "Keystone Garden Studio" under the flight path of the Bob Hope Airport in Burbank, California  GEAR: Sony ICD PX370 digital voice recorder and Sony ECM CS3 "tie-clip" microphone. HYPE: "It's a beatnik kinda literary thing in a podcast cloak of darkness." Timothy Kimo Brien (cohost on Podwrecked and host of Create Art Podcast) DISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.  

Hey Dude, while standing in the rain, I riff about three towering North Hollywood Huskies: musician D.J. Bonebrake, writer Susan Sontag, and artist Bobby Doran.PEOPLE: X, Erin Moran, John Williams, Garry Marshall, Patti Smith, Lenny Kaye PLACES: North Hollywood High SchoolTHINGS: "Alphabetland", "On Photography", Facebook, YouTubeSOUNDS: rain, footsteps, "Laguna Cowbell Chimes", airplane, birdsGENRE: storytelling, personal narrative, personal journalPHOTO: "DJ, Susan and Bobby" shot by D.J. Bonebrake RECORDED: May 18, 2020 in the new "Keystone Garden Studio" under the flight path of the Bob Hope Airport in Burbank, California GEAR: Sony ICD PX370 digital voice recorder and Sony ECM CS3 "tie-clip" microphone.HYPE: "It's a beatnik kinda literary thing in a podcast cloak of darkness." Timothy Kimo Brien (cohost on Podwrecked and host of Create Art Podcast)DISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.

Elements of image composition. Techniques used to create meaning or attract attention. The functions of visual signs. Perspectives on image analysis. Interview with: Michael Martinez, Ph.D., Assistant Professor, School of Journalism & Electronic Media, University of Tennessee Resources: Visual Communication-Images with Messages, by Paul Martin Lester (book) Visual Persuasion-The Role of Images in Advertising, by Paul Messaris (book) The Public Mind-Image & Reality in America, with Bill Moyers (PBS Video) All Consuming Images-The Politics of Style in Contemporary Culture, by Stuart Ewen (book) Visual Intelligence-Perception, Image, & Manipulation in Visual Communication, by Ann Marie Seward Barry (book) Truth Needs No Ally-Inside Photojournalism, by Howard Chapnick (book) Visual Communication Theory and Research: A Mass Communication Perspective, by Sharia, Bock, Wanta (book) Public Opinion-The World Outside & the Pictures in our Head, by Walter Lippmann (book) Picture Theory: Essays on Verbal & Visual Representation, University of Chicago Press (book) Get the Picture: A Personal History of Photojournalism, Random House Publishers (book) On Photography, by Susan Sontag (book) The Family of Man-Photographic Exhibition Created for the Museum of Modern Art, by Edward Steichen (book) Practices of Looking: An Introduction to Visual Culture, by M. Sturken and L. Cartwright (book)

An Excerpt from Susan Sontag's essay "On Photography" http://mgtundo.altervista.org/joomla/attachments/article/20/on%20photography%20Sontag.pdf

Ugyan and I discuss Sontag's famous essay 'In Plato's cave' from her book On Photography. Link to the essay: http://sites.uci.edu/01807w14/files/2014/02/SontagSusan_InPlatosCave.pdf Link to Teju Cole's essay: https://www.nytimes.com/2016/04/03/magazine/a-too-perfect-picture.html Image: Gen. Nguyen Ngoc Loan, South Vietnamese chief of the national police, fires his pistol into the head of suspected Viet Cong official Nguyen Van Lem on a Saigon street early in the Tet Offensive, February 1, 1968. Photographer Eddie Adams Intro/Outro theme: Karachal - Alash Ensemble (freemusicarchive.org/music/Alash_Ensemble/) Support this podcast at — https://redcircle.com/khyyl-gtm-khyeltam/donations

Susan Sontag (1933-2004) was an essayist, novelist, activist, film-maker, philosopher and teacher. On March 16, 2000, while on tour for what would be her final novel, “In America,” she was interviewed by Richard Wolinsky and Richard A. Lupoff in San Francisco. From Wikipedia: “Among her best known works are  On Photography, Against Interpretation, Styles of Radical Will, The Way We Live Now, Illness as Metaphor, Regarding the Pain of Others, The Volcano Lover, and In America.” From Wikipedia: “Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and communism and leftist ideology. Although her essays and speeches sometimes drew controversy, she has been described as “one of the most influential critics of her generation.” In her final four years after this interview, Susan Sontag published a long essay, Regarding the Pain of Others in 2003, concerning the visual representation of war and violence. Following her death, a collection of essays and speeches was published in 2007, and her journals and notebooks were published in two volumes, in 2008 and 2012. She died of leukemia on December 28, 2004 at the age of 71. Her illness and death were chronicled in the book Swimming in a Sea of Death by her son David Rieff. Am award-winning 2014 documentary on her life, Regarding Susan Sontag, is now available on Kanopy, the streaming app available free through your local library. This interview and was digitized and re-edited in 2006 by Richard Wolinsky and has not been aired in thirteen years. The post From the Archive: Susan Sontag (1933-2004) appeared first on KPFA.

In this podcast I start my read and riff series, where I read from books I think will be valuable to you and then riff on what they mean to me. In this episode, I begin to read and discuss Susan Sontag's famous book of essays On Photography. I delve into Chapter 1 "In Plato's Cave" and discuss how these issues are relevant to today's photo-crazy world. Thanks for listening, I hope I give you something to think about. --- Send in a voice message: https://anchor.fm/jake-j-thomas/message

They say a picture is worth a thousand words. But a podcast has at least two thousand words in it so that means it's worth at least two pictures. What's the exchange rate here? What's going on?... This week, Connor and Dan discuss Susan Sontag's collection of essays called On Photography. They explore the idea that photographs convince us that we're expanding our reality when really we're limiting it. They also take a moment to complain about social media and Dan gives his assessment of the entire James Bond franchise.

On Photography mit Ben Bernschneider Bens Links: www.benbernschneider.com/ www.instagram.com/benbernschneider/ Bens Bücher: shop.benbernschneider.com/ Bad Sheriff: vimeo.com/188118376

On Photography mit Milad Ahmadvand Milads Links: https://lovewinti.ch/ https://www.instagram.com/streetsandsouls/ Milads Inspiration: https://www.stefangroenveld.de/ http://www.webbnorriswebb.co/alex-webb/projects/portfolios-ai_1.html Foto: Stefan Groenveld

Essayisten og kulturkritikeren Susan Sontags forfatterskap favnet bredt. Hun ble kanskje best kjent for essayene om fotografiet i moderne vestlig kultur, fra samlingene On Photography (1977) og Regarding the Pain of Others (2002). Samtidig stod hun også for en rekke skjønnlitterære utgivelser og en stor samling essays om politikk og estetikk. Gjennomgående var et vidtfavnende engasjement og en uredd, ofte provoserende stemme som hentet ideer fra både amerikansk og europeisk tradisjon. Denne kvelden vil vi gå gjennom og inn i Sontags teorier og ideer, og forsøke å danne oss et helhetlig bilde av en mangesidig skribent. I panelet er stipendiat og kritiker Kaja Schjerven Mollerin som var redaktør for tidsskriftet Agoras temanummer om Sontag, og professor i litteraturvitenskap Arne Melberg som bidro i nummeret om Sontags essayistikk. Redaktør for Klassekampens Bokmagasin Karin Haugen leder samtalen. Med denne kvelden fortsetter vi vår arrangementserie hvor sentrale tenkere i det 20. århundre presenteres. Målet er å gi en generell innføring, samtidig som tankegodset undergår en mer utførlig utforskning. Slik kan også kjent stoff anta nye og overraskende dimensjoner.

WWDC 特别节目……将于下周放送。本期我们谈谈苹果未来的设计方向，以及即将于明天开始的旧金山科技嘉年华。本周的《IT 公论》会员通讯将临时改为每日一封，价格不变！不用再犹豫了。 本期会员通讯已发至各位会员邮箱。每月三十元，支持不鸟万如一和 Rio 把《IT 公论》做成最好的科技播客。请访问 itgonglun.com/member。若您无意入会，但喜欢某一期节目，也欢迎用支付宝支付小费（建议金额：一元、五元或十元人民币）：hi@itgonglun.com 或扫描下方二维码。 相关链接 Layers Design Conference Susan Kare Oisín Prendiville Supertop Wil Shipley Delicious Library OmniGroup Panic Neven Mrgan Rogue Amoeba Jonathan Mann NeXTEVNT Don Melton Debug Doug Menuez Doug Menuez 拍摄的 NeXT 时代乔布斯宴请投资人的照片 ALTCONF 2015 Typographics — A design festival for people who use type jwz (Jamie Zawinski): ‘I have no interest in reading my feeds through a web site (no more than I would tolerate reading my email that way, like an animal).’ Susan Sontag: On Photography The Telegraph: When Stephen Fry met Jony Ive: the self-confessed tech geek talks to Apple’s newly promoted chief design officer Ian Parker 发表于《纽约客》的 Jonathan Ive 特写 John Gruber: On Jony Ive’s Promotion to Chief Design Officer Ben Thompson: Jony Ive “Promoted”, the Implications of Not Managing, What About Apple? Eli Schiff: Fall of the Designer Part I: Fashionable Nonsense Andrew Burton: Modern minimalism IS the right choice 人物简介 不鸟万如一：字节社创始人。 Rio: Apple4us 程序员。

On Photography

This podcast discusses some of the essays of Susan Sontag, which can be found in the collection "On Photography", and in particular the idea that a camera can be viewed as a weapon. A controversial thought to be sure but one that I hope elicits a conversation about how photographers view their tools and the role they play in the creative process.

This episode of Camera Position is the third entry in an irregular series of suggestions for the serious photographer’s bookshelf. This time, the selection is “On Photography,” an important – and occasionally somewhat difficult – book of photographic criticism and thought from writer Susan Sontag. Click on images above for a larger view Links for … Continue reading Camera Position 44 : Photographer’s Bookshelf #3 →