Monday, April 30, 2012

Bringing your camera to an #Occupy protest? Resource on your rights as a photographer http://bit.ly/GYUn9Q #OPHL #OWS
Can't wait to see what the local weather Philadelphia will be like on May Day, a day for a general strike y "Un Dia Sin Inmigrantes."

Who Burns for the Perfection of Paper by Martín Espada



At sixteen, I worked after high school hours
at a printing plant
that manufactured legal pads:
Yellow paper
stacked seven feet high
and leaning
as I slipped cardboard
between the pages,
then brushed red glue
up and down the stack.
No gloves: fingertips required
for the perfection of paper,
smoothing the exact rectangle.
Sluggish by 9 PM, the hands
would slide along suddenly sharp paper,
and gather slits thinner than the crevices
of the skin, hidden.
The glue would sting,
hands oozing
till both palms burned
at the punch clock.

Ten years later, in law school,
I knew that every legal pad
was glued with the sting of hidden cuts,
that every open law book
was a pair of hands
upturned and burning.


-----


from City of Coughing and Dead Radiators, 1993
W.W. Norton & Company, Inc., New York, NY

Copyright 1993 by Martín Espada.
All rights reserved.

"blood atonement"

Échele Ganas (Do Your Best): A Life Left Behind 

Monday, April 30
International House 3701 Chestnut Street
admission: $5
7:00PM: Artist's Reception 8:00PM:

Film Screening Director Laurence Salzmann in person In Échele Ganas, older villagers from Tonalapa reminisce about their lives and the history of their culture while younger people speak about employment in the United States and the effects of their labor on the Sierra Norte de Puebla region. The narrative of Échele Ganas, paired with Salzmann's stunning photographs, allows viewers of all cultures to better understand the remarkable people of Sierra Norte de Puebla. (Mexico/USA, 2012, 72 min, Spanish w/ English Subtitles)

Saturday, April 28, 2012

http://www.youtube.com/watch?feature=player_embedded&v=LZGg2A3_3IA

Wednesday, April 25, 2012

Tuesday, April 24, 2012




One of a series of short films inspired by the Zoe Strauss Billboard Project. Drinking Partners was written, filmed and edited by Nate Kamal, Josh Martin-Coralles, William Marsh and Rafiq Robinson.


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.



One of a series of short films inspired by the Zoe Strauss Billboard Project. Drinking Partners was written, filmed and edited by Nate Kamal, Josh Martin-Coralles, William Marsh and Rafiq Robinson.


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.



One of a series of short films inspired by the Zoe Strauss Billboard Project. Drinking Partners was written, filmed and edited by Nate Kamal, Josh Martin-Coralles, William Marsh and Rafiq Robinson.


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.



One of a series of short films inspired by the Zoe Strauss Billboard Project. Drinking Partners was written, filmed and edited by Nate Kamal, Josh Martin-Coralles, William Marsh and Rafiq Robinson.


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.

Monday, April 23, 2012




One of a series of short films inspired by the Zoe Strauss Billboard Project. Drinking Partners was written, filmed and edited by Nate Kamal, Josh Martin-Coralles, William Marsh and Rafiq Robinson.


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.

Saturday, April 21, 2012

LAST DAY TO SEE 10 YEARS IN PHILADELPHIA

LAST 2 DAYS

Definitions of Whiteness in the United States

Shocking personal insight today: I am prejudiced against WASPs. And when pushed, I couldn't come up with any real reason why. Also, this personal revelation was captured on film. I blew my own mind with that!

I blew my own mind again with my definition of "whiteness" which I found to be different than "ethnic," even thought both "ethnic" and "white" mean the same to anyone looking a white person. How is immigrant ethnicity, generations after the immigration, separate from "whiteness?" I can't answer. In regard to race, what does "whiteness" mean? And why does "white" connotate something other that my own sense of self, when I am "white?" "Medigon" is still used, disparagingly I might add, by Italian-Americans to say that someone is "white," meaning non-ethnic. Sometimes that term is heard in my own household.

And while I was talking for this film I was like it all goes back to Reagan for me! Why do I always blame everything on Reagan? Is he really the WORST ever? Well, yes, he is the worst, but is he to blame for my inability to define "whiteness?" It's my own white privilege that allows me to explore the meaning of "whiteness" and make it complex in relation to my own sense of self. But I still blame Reagan for everything. What?

It was disturbing and great to find these things out about myself.

Friday, April 20, 2012





Thursday, April 19, 2012

Long writing about this show will be forthcoming in the next few months. Prepare for quite a long and drawn out recap.


One of a series of short films inspired by the Zoe Strauss Billboard Project. Drinking Partners was written, filmed and edited by Nate Kamal, Josh Martin-Coralles, William Marsh and Rafiq Robinson.


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.



One of a series of short films inspired by the Zoe Strauss Billboard Project. Shooter was written, filmed and edited by Robert Broadwater, Gil Gonzalez, .Jobe Naff and Joe Parisi


The Zoe Strauss Billboard Short Film Project is a product of Rough Cut Productions- a video production team of staff and students at Science Leadership Academy in Philadelphia, PA.

Tuesday, April 17, 2012

Monday, April 16, 2012

Going over how this show was, and here's the most accurate description:

Hoping to see everyone ever at the Museum this Sunday. 4-5pm... Last dance. Bring yourselves. And if you want, snacks and drinks.

Courtney, Art Patron, and Mummer With Blunt

Friday, April 13, 2012

Lauren Throwing Out First Pitch!!!!



The epitome of "great."

Hard Times Lift Greece’s Anti-Immigrant Fringe

"...many of the immigrants remain in Greece or are returned there after being deported from other countries in Europe. This has stoked fears here of an onslaught of illegal immigrants, who economists say bear little or no responsibility for Greece’s economic troubles but who make easy scapegoats for politicians across the spectrum."

The Complete History of Every One: On Zoe Strauss by Barry Schwabsky

Thanks for writing this, Mr. Schwabsky. I know I posted links on facebook, but didn't put it up here... which I absolutely should have.

Thursday, April 12, 2012

AMAZING NEWS! LAUREN BLACK IS THROWING OUT THE FIRST PITCH! MS. LAUREN "AWESOME" BLACK IS THE #1 PHILLIES FAN! BEYOND GREAT!

Artforum Review by Nell McClister



I love this review and the ending is great and I hope it will prompt more and more questions. Thanks, Nell McClister!

Here's some questions I have for folks following the train of thought put forward in the review. For me the ending is what prompts the most important questions:

"Strauss wants her photographs to speak for themselves, but in reality her voiceless subjects remain politically silenced... In prompting the viewer to construct an active reading, Strauss emphasizes their contingency, and in speaking to us on her subjects' behalf, she reminds us that the photographer ALWAYS (emphasis mine) stands between them and us as a mediator. Meanwhile, those subjects remain outside the social matrix she constructs: they never get to join the conversation. Not even ten years of photographs has the power to change that."

Yes! Thank you, Nell McClister! Not even a million years of photos changes the imbalance of the power dynamic inherent in "street" photography. The photographer is always the one who retains control, and therefore retains the power of using an image as a metaphor, including portraiture. That then begs any number of questions about the ethics and ideas about using the "real" image of a person as a metaphor for an idea the photographer is looking to put forth.

The phrasing at the end of the review is a little unclear to me and that brings up great questions. What conversation is being referred to? Because the billboards are in public spaces, there are a number of conversations happening, most of which have very little crossover. Is the conversation about the interior, gallery, component of the show and my editing process, which is always my final decision? Although with this show the in-gallery choices were a join decision, me and the super curator Peter Barberie went at it 50/50. Only one person, the mother of a person in one of the portraits, was consulted about the placement of an image, although several people who had portraits in the show were asked about the inclusion of their image. In referring to portraits, the great majority of the people who I have made photos of have trusted me to use them and are not part of a conversation about placement or inclusion within the gallery setting, even though many have attended the show. So they are part of a different conversation, their place within the larger body of work and how people read their image.

Or is it the conversation among viewers regarding the images? And if so, the conversation shifts in relation to which context have the images been seen, so how does that impact the reading of the images?

Are the images politically silent? I think that's up for debate. One aspect of the Billboard Project is that it eliminated a great deal of marketing for consumerism and services. That's a political gesture, regardless of the image. But it's true that the images themselves don't offer more than the image, and the viewer must make an effort to construct what's being said or what the moment is about. In that sense they are inscrutable as a political gesture because there's no context to place the images into the urban landscape, other than being a disruption in semiotic structure of advertising.


And while I totally agree that an important aspect of my work is that the photographer is always the mediator and constructor of the image, I believe that's accurate for EVERY photograph produced regardless of context, my hope is that everyone is a part of the conversation. There's conversations happening all the time about the work, especially in relation to the Billboard Project, but not necessarily within the academy, within an institutional structure, or within a printed or online forum related to visual art. And so I would disagree with the assessment that some of the people represented, and I could take it as far as (re)presented, are not part of the conversation... many are actively part of conversations about the work, just not the conversations happening within the confines of academic discourse, or spaces and forums in which there's active critical writing and discussion about visual art. This gives rise to the question of the importance of the crossover of those conversations. Since I am very interested in visually "quoting" photographs that have great importance to me personally (and many of those "quoted" photos are seen as important in the history of photography) many of the photos are often not easily recognized outside of books or the spaces that exhibit what might be considered "fine art" photography. Coming from that are about a billion other questions I have about the success of the project and the many ways it can be read.

So great, questions galore.

Wednesday, April 11, 2012

Monday, April 09, 2012

amsterdam_3130 web

Saturday, April 07, 2012

Friday, April 06, 2012

Tuesday, April 03, 2012

April 3: Brussels
April 4: Rotterdam
April 5: Rotterdam
April 6: Rotterdam
April 7: Eindhoven
April 8: Amsterdam
April 9: Enschede
April 10: home


A thousand thanks to Harlan Levey and Winnie and all who have made this day in Brussels amazing. Merci. 謝謝