Burns, a 50-year-old New Jersey resident and volunteer firefighter, accuses News photo managing editor and National Enquirer alumnus Alexander Hitchen, who joined the paper last summer, of stiffing him on cost reimbursement and triggering anxiety attacks and high blood pressure.(4)
I think that's something that's a thread: collecting, I suppose. Collecting in relationship to found material…. But also, something that's quite specific is that many people are showing work by other artists. Jason Simon, for instance, is showing his collection of Chris Marker material. And Julie Ault, we're showing some material related to Theodore Kaczynski [the Unabomber]. There's a thread going through the show of artists who have responded to something interesting in the world, I suppose, and have translated that into the process of collecting and representing. I guess that goes hand-in-hand with the idea of the White Columns Annual, which is essentially that you're representing things that you saw elsewhere. It's almost more a form of collecting than curating.
Each day, the New York tabloids vie to sell readers at the newsstands on outrageous headlines, dramatic photography, and, occasionally, great reporting. Who is today's winner?(1)
Each day, the New York tabloids vie to sell readers at the newsstands on outrageous headlines, dramatic photography, and, occasionally, great reporting. Who is today's winner?(4)
“Ryan [McGinley] told me Sandy Kim is the next Ryan McGinley,” The Hole's director, Kathy Grayson, said. “Which gets really funny for him to say, but whatever, other people have said it too. She's 23 and a Korean-American girl. She obviously has a cool, fun life and interesting looking friends, but there is also something magic about her photographs.” But some attendees weren’t buying the magic.
Vik Muniz and others figure out how to make profound photos in a world that generates 30 billion images a year
“That’s my favorite Aperture book,” Muniz said. “That art book of [Edward] Weston’s, but it doesn’t have that picture.” Muniz said pointing to his work, a portrait of Weston’s lover titled The White Iris, “I actually used the book to make that picture so instead of putting the picture back in the book, I put the book in the picture. If you look at the side, all the bits and pieces are from the book, put together.” “So you tore an archival book?” the woman asked. “Yes, it was a first edition!” Muniz responded, “It was very cannibalistic.”(1)
But the effect here is surprising needed, and inspired. When viewers are turned back by a clutch of intent readers, they refocus their attention on the photos and ephemera, looking more closely. And, wonderfully, when those same viewers finally reach the wall panels, they stop—I’ve never seen so many museumgoers reading so intently—and they engage. The wealth of information available means that no single activity—looking or reading—can be maintained for too long. Once they’ve finished reading, viewers go back to absorbing what the images themselves tell. They tell a great deal.
From time to time we take a look at cool-looking local projects still trying to make it on Kickstarter. If a customizable watch band can get $10,266,846 in 30 days, surely these guys can pull through, right?
In these senses, at least, New Photography is a misnomer, or maybe an old habit. The feel is more of an intimate salon than an aggressive survey of those testing the outer limits of the artform. Sobriety, seriousness, and craft take precedence over boisterousness and wild creativity. This has its drawbacks, but all the artists represented are consistently engaging, and if the show implies that there is not much new under the sun, it also affirms that the view need not be any worse for that.
Overall, the auction was successful, with evening results totalling $1,517,250 against a low estimate of $1,352,000 for the 28 works. That’s nothing to be sad about. Still, most of the lots that did sell hovered just above their low estimates, and 30 percent of the lots didn’t sell. It seems that at this moment, a showcase of Avedon’s strange, glamorous world doesn’t garner much excitement.
“The show is not intended to be a survey of everything that’s happening in photography at this moment,” said Eva Respini, associate curator at MoMA’s department of photography, in an interview. “It was our attempt to highlight artists whose work we found particularly new, fresh and exciting, at a time when the definition photography is rapidly changing.”
The paper's pool of regular freelance photographers, including more than a dozen who work full-time hours for the tabloid on set day-rates but are not salaried employees with benefits, were recently asked to sign a new contract by July 31 in order to continue receiving assignments after that date. They find certain aspects of the contract, which was shared with Capital, to be particularly onerous. In particular: It reduces the ability of photographers to resell their work, something that has long been considered a staple of their compensation because the base pay can be as little as $150 per day.(8)
'Daily News' hires Alexander Hitchen, 'Enquirer' reporter who broke the John Edwards-Rielle Hunter scandal wide open
He brings with him a sensibility for the types of salacious, eye-popping tabloid stories that are also the stock-in-trade of News editor (and fellow Briton) Colin Myler, who previously edited the U.K. Sunday tabloid News of the World before News Corp. shut it down at the height of the phone-hacking scandal last summer.(1)
Of course it's not just the old, familiar "information overload" complaint that actually echoed through the ages long before the digital era. For those of us who don’t give in to the paranoia that zettabytes of cat videos and baby pictures are unstoppably degrading the sanctity of The Image, it’s extraordinary to be confronted, as one is at the Guggenheim Museum’s current Rineke Dijkstra mid-career retrospective, with rather ordinary-looking images of rather ordinary-looking people, and to be intensely moved.
“You have to gain their trust, they have to really get to know you and accept you being there. You have to really know how to back off, sorta learn how to be a fly on the wall. And respect them. I don’t think you can be one of them, and like join in … because you’re not one of them."