@2 weeks ago with 51 notes
#Photography #Curran Hatleberg #Street Photography #The Great leap Sideways
“Often his subjects are depicted in the complex throes of an effort to make sense of their togetherness, and appear at odds to some degree with the environment that surrounds them – disconnected, albeit momentarily, from the ground on which they stand. This disjuncture is counterpointed by alarming and deeply compelling moments of sincerity and intimacy that serve not only to reassert the insufficiency of a model of victimhood as a means by which to make sense of hardship, but that also evince an unbending faith in the essentially humane basis of hope.
All of this is expressed in a vivid palette of striking contrast, and colour imbued with deep-running fertility. So often in these images colour is the analogue of a pivotal emotional tone, but what is perhaps most compelling about its use is the way in which it so often subverts the conventional expectation of the moment or environment in which it is employed. A certain warmth and gratitude underpin the tears of a middle-aged woman stood on a street corner, her gaze welcoming the touch of a man who whose face we cannot see, but whose finger gently brushes a tear from her face; another young woman with a black eye is crowned by the deep gold shimmer of small lights in the distance, her pallid complexion seeming at odds with the warmth that surrounds her. Life as seen in these images is both vivid and monochromatic – as complex as the contradictory circumstances that each photograph seeks so sympathetically to depict. In the end, the images deliver a truth more felt than known.”
— from the introduction to Something more felt than known: a conversation with Curran Hatleberg.
@1 month ago with 69 notes
#Photography #Sean Stewart #Documentary photography #Landscape #Landscape photography #Joel Sternfeld #Mitch Epstein #W. Eugene Smith #The Great Leap Sideways
“Depending on how I’m feeling on a particular day or week, I’m constantly changing my mind about what they mean. I’m wrestling with my own ambivalence while trying to rule out whether I love or hate this place. I seem to not want to commit to either. The landscape continues to be full of messages that complicate my feelings about the past and present.”
— from a conversation with Sean Stewart just uploaded at thegreatleapsideways.com
@6 months ago with 77 notes
#Photography #Robert Adams #Bryan Schutmaat #The Great Leap Sideways
“As do all wars, the Civil War produced a generation of people tired of trying, of paying for ideals, and the condition of the West is to be explained in part by that generation’s cynicism and the pattern it set. Many immigrants saw their separation from others as a welcome freedom from responsibility. Liberty meant leaving people, whatever their needs, behind. We became a nation of boomers, everlastingly after a new start out in the open, by ourselves.
This morally indefensible equation of space, understood as distance from others, and freedom, understood as license to pursue one’s own interests without regard for those of others (no one else being in view), has ended of course in the reduction of everyone’s freedom. While the apparently infinite number of opportunities to start again stretched away westward, the mythology of capitalism appeared plausible. Anyone could, if the compulsion of his greed were left alone by government, go into the space, which was luckily well stocked with natural resources, and by work become rich.”
— Robert Adams “In the Nineteenth-Century West” in Why People Photograph
Photograph: Bryan Schutmaat, Grays The Mountain Sends