tagged w/ Vintage Photographs
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Jerome Liebling, a pioneering socially conscious documentary photographer and teacher for more than half a century, died on July 27th in Northampton, Mass., at the age of 87. Mr. Leibling’s subtly powerful pictures influenced a generation of socially minded photographers and documentary filmmakers.
Along with a wave of pioneering photographers who included Walker Evans, Paul Strand, Berenice Abbott, Helen Levitt and Gordon Parks, Jerome Liebling helped define the look of 20th century documentary photography. Leibling took to the streets of New York in the 1940s to make art by turning his camera onto corners of urban life that had too often been ignored by many photographers before him. He captured the lives of ordinary people on the streets of New York, including in his childhood neighborhood of Brighton Beach, as well as around the world.
Most of Mr. Liebling’s life was spent teaching. He started a photography and film department at the University of Minnesota in 1949, and taught at Hampshire College from 1970 to 1990. The school’s photography building is named in his honor. A number of of Mr. Liebling’s students became professional photographers and filmmakers, receiving Academy Awards, Emmys and Peabody awards for their work.
Liebling received numerous awards and grants, including two Guggenheim Fellowships, a National Endowment for the Arts Photographic Survey Grant, and a fellowship from the Massachusetts Council on the Arts. His photographs are in the permanent collections of many museums, including the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, the Boston Museum of Fine Arts, the Fogg Museum in Cambridge, Massachusetts, the Corcoran Gallery of Art in Washington, D.C., and the National Gallery of Canada in Ottawa.
This piece includes a number of high-resolution photographs, a photo-gallery and two documentary short films.
http://disembedded.wordpress.com/2011/08/19/jerome-liebling-a-documentary-photographer-whose-camera-captured-the-human-spirit/Jerome Liebling, a pioneering socially conscious documentary photographer and teacher... more
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“A Brooklyn Summer, 1974” is a beautiful collection of vintage photos of Brooklyn taken in the summer of 1974 by photographer Danny Lyon, and the vintage tone of these summertime photographs makes everything look so much hotter. Lyon spent two months snapping pictures of the daily life in the borough, exploring Bushwick, Bedford-Stuyvesant, Fort Green, Park Slope and other neighborhoods. Lyon captured the photographs of inner-city life while on assignment for Documerica, a project of the Environmental Protection Agency (EPA) that hired freelance photographers to capture images relating to environmental problems, EPA activities, and everyday life in the 1970s.
Born in 1942 in Brooklyn, Danny Lyon received a BA from the University of Chicago in 1973. In the 1960s and 1970s, Lyon made a name for himself covering life in Chicago’s impoverished Uptown Appalachian-migrant neighborhood and the Southern Civil Rights movement. Lyon went on to give the world three incredible works: “The Bikeriders,” in which he chronicled his travels as a member of the Chicago Outlaws Motorcycle Club, “The Destruction of Lower Manhattan,” documenting the large-scale demolition of our country’s greatest city back in 1967, and “Conversations with the Dead,” in which he photographed and wrote about Texas inmates in 6 different prisons.
Lyon’s work has been frequently exhibited and collected; he is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship and National Endowment for the Arts grants in both film and photography.
This piece include a number of vintage color photographs, a photo-gallery and a documentary short film.
http://disembedded.wordpress.com/2011/06/11/the-americans-a-brooklyn-summer-1974/“A Brooklyn Summer, 1974” is a beautiful collection of vintage photos of... more
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“Helios: Eadweard Muybridge in a Time of Change” is an exhibition at the San Francisco Museum of Modern Art (SFMOMA), which presents the first-ever retrospective examination of all aspects of artist Eadweard Muybridge’s pioneering photography. Best known for his groundbreaking studies of animals and humans in motion, what a magnificent photographer Eadweard Muybridge was and what a brilliant eye he had is too often overlooked. In addition to his iconic studies of animals in motion, Muybridge (1830-1904) was also an innovative and successful landscape and survey photographer, documentary artist, inventor and war correspondent.
The works in this exhibition have been brought together from 38 different collections and include a number of Muybridge’s photographs of Yosemite Valley, images of Alaska and the Pacific coast, pictures from Panama and Guatemala and urban panoramas of San Francisco, most of which were published under the pseudonym “Helios.” The exhibition also includes examples from Muybridge’s experimental series of sequential stop-motion photographs, such as his masterpieces “The Horse in Motion” and “Animal Locomotion.”
This piece includes a number of vintage photographs from the exhibition, a photo-gallery, a music video and a stop-motion animation.
http://disembedded.wordpress.com/2011/06/05/helios-the-pioneering-photography-of-eadweard-muybridge/“Helios: Eadweard Muybridge in a Time of Change” is an exhibition at the... more
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Although California is presently the only state with an official Harvey Milk Day, cities all across the country will be holding rallies and events today to honor the first openly gay man to be elected to public office and an icon of the gay-rights movement. Milk, who would have been 81 years-old, gave us his life 32 years ago, knowing that the first of any civil rights movement, who clearly and loudly proclaim their right to equality, most often meets a violent and sudden end. Harvey Milk was elected to the San Francisco Board of Supervisors in 1977. He fought to end discrimination against gays and lesbians and built coalitions of gay-rights groups, labor unions and small-business owners. He was 48 when he was killed a year later by a former supervisor, Dan White.
“The Times of Harvey Milk,” a documentary film, won the 1984 Academy Award for Documentary Feature. The movie “Milk,” was released in 2008, directed by Gus Van Sant and starring Sean Penn as Milk and Josh Brolin as Dan White. “Milk” received two Academy Awards, for Best Original Screenplay and Best Actor. In August 2009, President Barack Obama posthumously awarded Harvey Milk the Presidential Medal of Freedom for his contribution to the gay rights movement stating, “He fought discrimination with visionary courage and conviction.”
This piece includes a number of high-resolution photographs, a photo-gallery and four videos, including the full version of the Academy Award-winning documentary “The Times of Harvey Milk.”
http://disembedded.wordpress.com/2011/05/22/harvey-milk-day-2011-youve-got-to-give-them-hope/Although California is presently the only state with an official Harvey Milk Day,... more
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“Staging Action: Performance in Photography Since 1960” presents a wide range of images focusing on performance art that were expressly made for the artist’s camera, which was recently on exhibition at The Museum of Modern Art in New York City. Performance art is usually experienced live, but what documents it and ensures its enduring life is, above all, photography. Yet photography plays a constitutive role, not merely a documentary one, when the performance is staged expressly for the camera (often in the absence of an audience), and the images that result are recordings of an event but also autonomous works of art. The pictures in this exhibition exemplify the complex and varied uses artists have devised for photography in the field of performance art since the 1960s.
Many artists have experimented with the camera to test the physical and psychological limits of the body. Other artists have enlisted the camera as an accomplice in experiments with identity, suggesting the plasticity or mutability of identity itself. They have engaged the production of the self as positional rather than fixed and often played with shifting ideas of gender and/or sexual identity. The exhibition also includes both off-the-cuff and staged performative gestures of political dissent, as well as explorations of the dualities of consumerism and dispossession.
“Staging Action” demonstrates the complex ways in which photography, confronting us with its ability to both freeze and extend a moment in time, pushes against the grain of mere documentation to create performance art as a conceptual exercise that can be appreciated in the absence of a performing body. Often the technology of the camera is able to open up new space for performance, isolating exhibitionist, arresting, spectacular and just plain wacky moments. For every strenuous performance in this collection that challenges physical and psychological limits, there’s also a very playful one.
This piece includes a number of high-resolution vintage photographs, an engrossing photo-gallery and a documentary short film.
http://disembedded.wordpress.com/2011/05/07/performance-in-photography-since-1960-an-audience-of-one/“Staging Action: Performance in Photography Since 1960” presents a wide... more
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In August 1953, renowned American photographer Dorothea Lange traveled to southern Utah where she met up with her long-time friend Ansel Adams. The two photographers spent three weeks photographing the landscape and people of Toquerville, Gunlock and St. George. Lange’s enthusiasm for her subject yielded hundreds of photographs. Thirty-five of those photographs were published as “Three Mormon Towns” in the September 6, 1954 issue of Life Magazine.
Dorothea Lange’s “Three Mormon Towns” was recently displayed in exhibition at the Brigham Young University Museum of Art. “Three Mormon Towns” represents a bridge between Lange’s famous Depression Era photographs and her later detailed photographic essays of the 1950s. Known for her candid and sympathetic depiction of people, “Three Mormon Towns” presents a study of contrasts: of old and new, of quiet villages and a growing city, of deep roots and transient highways. In this series of photographs, Lange memorialized the dignity and simplicity of agrarian life in light of post-war urbanization.
This piece includes a number of high-resolution vintage black-and-white photographs, a slide show and a documentary short film.
http://disembedded.wordpress.com/2011/05/03/dorothea-lange-three-mormon-towns/In August 1953, renowned American photographer Dorothea Lange traveled to southern... more
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“Three Giants of 20th-Century American Photography” is an exhibition that was presented recently at The Metropolitan Museum of Art, New York. The exhibition featured Alfred Stieglitz, Edward Steichen, and Paul Strand, whose works are among the Metropolitan’s greatest photographic treasures.
Alfred Stieglitz was a photographer of supreme accomplishment, as well as a forceful and influential advocate for photography and modern art. Selections presented here from the exhibition include portraits, city views and numerous images from his composite portrait of Georgia O’Keeffe.
Stieglitz’s protégé and collaborator Edward Steichen was the most talented exemplar of Photo-Secessionist ideas, with works such as his three large variant prints of The Flatiron and his moonlit photographs purposely rivaling the scale, color and individuality of painting. Paul Strand’s photographs from 1915–1917 treated three principal themes: movement in the city, abstractions, and street portraits. Strands work pioneered a shift from the soft-focus Pictorialist aesthetic to the straight approach and graphic power of the emerging modernism.
This piece includes a number of vintage photographs, a slide show and three documentary short films.
http://disembedded.wordpress.com/2011/04/11/three-giants-of-20th-century-american-photography-stieglitz-steichen-and-strand/“Three Giants of 20th-Century American Photography” is an exhibition that... more
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These solemn portraits are, in fact, vintage mug shots of old-time scallywags and scoundrels. They’re from a collection of beautifully candid mug shots found on the website of Australia’s Justice and Police Museum. The modern mug shot is seldom a work of art. Suspects are dragged into the police station and immediately photographed in whatever sorry state they happened to be in at the time they committed the crime, and the perfunctory snapshots are taken with no concern for lighting or style. In addition, they have to hold up those awful printed signs. How terribly cold and cruel our modern age! However, we had no idea how beautiful mug shots could be until we came across these gems. The photographs are haunting and resplendent in their depth, all weathered and written-on, and the faces of the criminals speak untold volumes. A slide show has the best photographs of dirty old crooks you’ll ever see.
This piece includes a number of vintage photographs, a slide show and a music video.
http://disembedded.wordpress.com/2011/03/09/an-intriguing-slice-of-crooked-life-gorgeous-vintage-mug-shots/These solemn portraits are, in fact, vintage mug shots of old-time scallywags and... more
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Twenty-five years after his death, André Kertész (1894–1985) is today a world-famous photographer who produced images that will be familiar to everyone. However, he has yet to receive full recognition for his personal contribution to the language of photography in the 20th century. His career spanning more than seventy years was chaotic, and his longevity was matched by an unwavering creative acuity that made an immediate or retrospective understanding of his work difficult.
For the first time, an exhibition at Jeu de Paume in Paris has assembled a sizable collection of prints and original documents covering the different periods of Kertész’s life and artistic career. It brings together a large number of prints and original documents that highlight the exceptional creative acuity of this photographer, from his beginnings in Hungary, his homeland, to Paris, where between 1925 and 1936 he was one of the leading figures in avant-garde photography, to New York, where he lived for nearly fifty years without encountering the success that he expected and so rightly deserved.
It pays tribute to a photographer whom Cartier-Bresson regarded as one of his masters, and reveals, despite an apparent diversity of periods, situations, themes and styles, the coherence of Kertész’s approach. The exhibition reveals how Kertész developed a genuine poetics of photography, what he called “a real photographic language.” The display highlights the autonomy of each photograph, while at the same time indicating the presence of series or recurring themes (for example, the distortions, the buildings of New York, the chimneys, and solitude).
Kertész remained true to his intuitive, allusive personal style, and used his work to give voice to the sadness that undoubtedly permeated his entire life in New York, rendered most explicitly in The Lost Cloud (1937). Right up until the end of his life, he sought images of solitude, and on January 1, 1972, during a trip to Martinique, he caught the fleeting, pensive profile of a man behind a pane of frosted glass: this nebulous vision of a solitary man before the immensity of the sea was the last image in his retrospective collection, “Sixty Years of Photography, 1912–1972.”
This piece includes a number of high-resolution vintage photographs, a slide show and a documentary short film about the exhibition.
http://disembedded.wordpress.com/2011/02/06/andre-kertesz-the-nebulous-visions-of-a-solitary-man/Twenty-five years after his death, André Kertész (1894–1985) is... more
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Dr. Martin Luther King, Jr. (1929-1968) was one of the most visible advocates of nonviolence and direct action as methods of social change. Dr. King initially gained national prominence for his role in the Montgomery bus boycott campaign, as well as in the Birmingham demonstrations that led to the passage of the Civil Rights Act of 1964. He was the recipient of the Nobel Peace Prize in 1964; the Presidential Medal of Freedom was awarded to Dr. King by President Jimmy Carter in 1964.
In late 1967, King initiated the Poor People’s Campaign, which was designed to confront economic problems that had not been addressed by earlier civil rights reforms. The following year, while supporting striking sanitation workers in Memphis, he delivered his final address, “I’ve Been to the Mountaintop.” The following day, April 4, 1968, Dr. King was assassinated.
This commemorative piece includes a number of high-resolution vintage photographs, as well as two memorable documentary short films.
http://disembedded.wordpress.com/2011/01/17/a-tribute-to-dr-martin-luther-king-and-the-civil-rights-movement/Dr. Martin Luther King, Jr. (1929-1968) was one of the most visible advocates of... more
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“An Old Timey Christmas” is a celebration of Christmas time from years gone past. The piece includes a number of vintage photographs, a delightful slide show and a classic vintage Christmas cartoon, “The Shanty Where Santy Claus Lives (1933).”
http://disembedded.wordpress.com/2010/12/13/an-old-timey-christmas/“An Old Timey Christmas” is a celebration of Christmas time from years... more
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Long before strippers started twirling on shiny brass poles in G-strings, men would get goofy watching women twirl their pasties at the old-timey burlesque shows. America’s big cities often had dozens of burlesque theaters that featured bodacious babes in barely-there costumes, at least until prudish city officials started banning the shows. But with the neo-burlesque movement coming back into vogue, and with Christina Aguilera and Cher co-starring in the new movie, “Burlesque”, here’s a fond look back at the heyday of burlesque.
This piece includes a number of high resolution vintage black-and-white photographs, a slide show and two musical documentary short films.
http://disembedded.wordpress.com/2010/11/29/classic-bump-n-grind-the-old-time-burlesque/Long before strippers started twirling on shiny brass poles in G-strings, men would... more
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“Up Close” is a collection of photographs that features the exceptional talent of four photographers whose images capture people, places and events with candid intimacy. “Up Close” traces the significant legacy of Australian photographer Carol Jerrems alongside that of contemporary artists Larry Clark, Nan Goldin and William Yang.
The collection takes its inspiration from the way each artist candidly depicts a social milieu and urban life of the 1970s and early 1980s. Sharing an interest in sub-cultural groups and individuals on the margins of society, each artist reveals a remarkable capacity to provide an empathetic glimpse into semi-private worlds through intimate depictions of people and their surroundings.
Jerrems’ photography was associated with a feminist and political imperative, a preoccupation with subcultures, forgotten and dispossessed groups, especially Aboriginal communities of the time. Larry Clark unflinchingly turned the camera onto himself and his amphetamine-shooting coterie to produce “Tulsa” (1971), a series of photographs repeatedly cited for its raw depiction of marginalized youth. With its grainy shot-from-the-hip style, “Tulsa” exposes a world of sex, death, violence, anxiety and boredom capturing the aimlessness and ennui of teenagers.
Larry Clark's influenced Nan Goldin and a generation of artists who aspired to break with the more traditional documentary modes. Mining the emotional depths of her friends, lovers and family, Goldin's work reveals a riveting intimacy while uncovering the bohemian life of New York’s Lower East Side. Goldin says, “I was documenting my life. It comes directly from the snapshot, which is always about love.”
William Yang’s photographs from the 1970s further the snapshot aesthetic through journeying into the intimate world of his particular social milieu: drag queens, Sydney gay and inner-city culture. Yang’s direct, unpretentious photographs provide a unique chronicle of marginalised groups especially as he put it: “…people who are gay, who were invisible, who were too scared to come out. During gay liberation people became visible, people became politicized, and there was a Mardi Gras that was a symbol of the movement.”
This piece includes a number of high-resolution photographs, a remarkable slide show and two documentary short films.
http://disembedded.wordpress.com/2010/10/26/up-close-photographs-of-candid-intimacy/“Up Close” is a collection of photographs that features the exceptional... more
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An American original and a self-taught photographer, Harry Callahan (1912-1999) was one of the first to do strictly art photography. Callahan became a major figure in American photography by means of his genius and work ethic. His photography was his life in many ways, and he told his life through his photography.
Callahan’s only education in photography consisted of attending lectures while a member of the Detroit Photo Guild. He experienced an exhibit of the photographs of Ansel Adams as an inspiration, and was similarly moved by the work of Alfred Stieglitz. Within eight years he’d become one of America’s most eloquent poets of the camera. Through the invitation of Lazlo Moholy-Nagy, Callahan become part of the teaching staff of Chicago’s Institute of Design, a continuation of the Bauhaus school of thinking about art that blended in the work of artisans with the fine arts.
From the late 1940s to early 1960s, his central model and muse was his wife Eleanor Callahan, and after 1950, his daughter Barbara. By the 1970s he had begun to focus on color photography, and a number of those works are represented in this collection.
This piece includes a number of vintage color photographs, a slide show and a documentary short film.
http://disembedded.wordpress.com/2010/10/12/harry-callahan-a-retrospective-collection-of-later-color-photography/An American original and a self-taught photographer, Harry Callahan (1912-1999) was... more
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Arthur Fellig, better known as Weegee (1899-1968), was the son of an Austrian rabbi, who came with his family from Europe to New York City. Independent-minded, for a time he aimlessly drifted around, did odd jobs and lived in the city’s flophouses. Finally, he discovered photography, a revelation that transformed him into a man with an obsessive mission. From the 1930′s through the mid-1940′s, Weegee was a freelance crime and street photographer for New York City tabloids, ceaselessly prowling inner-city streets during the graveyard shift. He loved the darkest hours, because then he had the photographic turf all to himself, but also owing to the fact that the most evil of crimes are carried out at night, under the cover of darkness.
Always prepared, Weegee stalked the streets in a car equipped with a police radio, a typewriter, developing equipment, a supply of cigars and a change of underwear. He was a one-man photo factory: he drove to a crime scene, took the pictures, developed the film in his car trunk and delivered finished the prints himself. Weegee was well aware of social problems in the city, documenting the struggles of people living through the Depression, the sufferings of people who experienced segregation and violent racial bias attacks, and the hardships of indigent immigrants packed into already poverty-stricken, desolate and crime-ridden neighborhoods of the city, especially the Lower East Side.
Eventually, the glamor of Hollywood beckoned, and Weegee moved there in 1946, where he worked in the film industry as an actor, consultant and photographer. He socialized with big-name Hollywood stars and got small acting parts in films, but he never really felt like he fit into what he called “The Land of the Zombies” and moved back to Manhattan in 1951, where he lived until his death in 1968.
This piece includes a number of vintage black&white photographs, a slide show and three documentary short films.
http://disembedded.wordpress.com/2010/10/10/weegee-remembering-the-american-photographer-who-first-made-night-noir/Arthur Fellig, better known as Weegee (1899-1968), was the son of an Austrian rabbi,... more
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“Hipsters, Hustlers, and Handball Players” is a knockout series of photographs by Leon Levinstein, which recalls the vibrancy of Robert Frank’s urban scenes and the unselfconsciousness of Walker Evans’ hidden-camera subway shots, but with elements of levity and the grotesque. Staking out New York City’s busiest public arenas, Times Square, Coney Island and Washington Square Park, Levinstein photographed hookers, hustlers, housewives, businessmen, cross-dressers, and the permanently down-and-out with no trace of sentimentality, but with plenty of heart.
From the early nineteen-fifties until a few years before his death in 1988, he worked on the fly, and almost always without engaging his subjects. Perhaps that’s why his pictures still feel so urgent and raw. Levinstein refined his Bowery compositions, but he never blunted his hit-and-run attack. He wasn’t slumming or judging; always a loner himself, he was communing with New York at its grittiest, and clearly relishing the experience.
This piece include a number of high resolution vintage photographs, a slide show and a documentary short film.
http://disembedded.wordpress.com/2010/10/02/leon-levinstein-hipsters-hustlers-and-handball-players/“Hipsters, Hustlers, and Handball Players” is a knockout series of... more
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“The Cut-Ups” is an engaging experimental three-minute animated short film created by Matti Niinimäki. Niinimäki states, “I have always liked the voice of William S. Burroughs and I’ve always wanted to do something with the Origin and Theory of the Tape Cut-Ups clip. Now I have.” Cut-Ups were an experimental form of art, pictures and audio tapes that William Burroughs created with the artist Brion Gysin while they were living at the Beat Hotel in the Latin quarter of Paris in 1959. Many of the American Beat artists and writers, including William Burroughs, Allen Ginsberg, Peter Orlovsky and Harold Norse, ended up at the Beat Hotel in search of free living. One could do whatever one liked in the rooms, paint and decorate the walls to suit oneself and cook one’s food by kneeling down over a camping stove.
This piece includes a number of vintage photographs, a slide show, the animated short film and two documentary films.
http://disembedded.wordpress.com/2010/10/02/william-s-burroughs-the-cut-ups/“The Cut-Ups” is an engaging experimental three-minute animated short film... more
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This is a series of quirky, fun-filled vintage photographs taken by Philippe Halsman five decades ago of movie stars, politicians, royalty, entertainers, artists and authors. Halsman had the bold and unconventional idea back in the 1950’s to ask the famous and prominent people he was commissioned to photograph once the formal sessions were over, to jump! The results were amazing, as each subject interpreted this bizarre request in their own unique way, often defying their typical public image. Marilyn Monroe, Lena Horne, Merce Cunningham, Salvador Dali, Weegee, Richard Nixon, and even the Duke and Duchess of Windsor agreed to take the leap of faith.
This piece includes a number of wonderful vintage photographs, a slide show and a video.
http://disembedded.wordpress.com/2010/08/07/photos-of-the-day-famous-and-prominent-people-taking-a-big-leap-of-faith/This is a series of quirky, fun-filled vintage photographs taken by Philippe Halsman... more
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Coney Island is nearing its final days, swirling ever-more deeply into a dismal state of disrepair. Soon the bulldozers will be back again, pushing over the last weathered links to the past, spelling the demise, once and for all, of the city’s most iconic neighborhood. Coney Island was always a place where you could drink beer, “shoot a freak,” see a geek, see a burlesque show, see fish, catch fish, eat fish, ride the Cyclone, ride the waves, win a kewpie doll, play Skee-Ball, go to a ballgame, see a band and lie on the sand. It was the last stand of the morally doubtful, the last place where one could feel the openness and energy of New York City in the 1970s, but stripped of the accompanying dread of crime and decay.
Now the city administration and wealthy developers have set into motion their master plans to rescue everyone from all of that, constructing at least four luxury hotels as high as 30 stories tall and as many as 26 residential towers to house wealthy residents paying top dollar for their condos. The real tragedy of Coney Island’s destruction is one that carries a much broader social message, it symbolizes the devastation of what had been since the mid-1800s a haven for waves of immigrant peoples, for the poor and for those who have been forced to exist on the outer-margins of society. And that is the real catastrophe.
This piece includes a number of remarkable vintage photographs, a memorable slide show, two documentary short films and two music videos.
http://disembedded.wordpress.com/2010/07/31/coney-islands-grand-past-a-requiem-for-an-american-icon/Coney Island is nearing its final days, swirling ever-more deeply into a dismal state... more
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It is neither self-forgetting and pain-loving antiquarianism, nor intoxicating romanticism that compels us to turn with a renewed passionate interest in learning about and appreciating the origins of the New Journalism. Our present world of public discourse has taken rigidly hostile polarized constructs of traditional Main-Stream Media versus the contemporary incarnation of New Media. However, while the former has long been understood to focus largely upon the accumulation of power and wealth, the same has come to be the goal of new media organizations. In fact, present-day new media organizations are made even more repugnant by their petty, envy-based sarcastic commentaries and idolatry of faux-celebrity life. Further, whatever their seeming differences, both forms of media share in the adherence to vicious levels of social and political ideology, which strongly bias and distort the communications and news presented to the public.
The origins of New Journalism are examined here through a review of the pioneering contributions of the inner-circle of The Beat Generation writers, who included Jack Kerouac, Allen Ginsberg, William S. Burroughs and Gregory Corso. The commentary is further expanded and enriched by stunning vintage photographs, a remarkable slide show of additional vintage images and six documentary films.
http://disembedded.wordpress.com/2010/06/07/the-lonely-beat-generation-dawn-of-the-new-journalism/It is neither self-forgetting and pain-loving antiquarianism, nor intoxicating... more
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