1 Episode results for "Hotan Kilani"

Photoville 2018

B&H Photography Podcast

1:00:15 hr | 2 years ago

Photoville 2018

"You're listening to the beach Taga fee podcast for over forty years being h has been the professional source for photography video audio and more for your favorite gear. News and reviews. Visit us at bien h. dot com or download the an h app to your iphone or Android device. Now, here's your host, Alan White's feedings and welcome to the bean photography podcast unto starry skies. We return this year to Brooklyn Bridge park and photo Ville. Two thousand eighteen photo villas a two week photography festival that features Thawra of gallery shows and exhibitors. Most of them situated in repurpose shipping containers. It mission is absolutely free, though donations are greatly appreciated. Once you enter, you can listen in on lectures, watch videos a learn about taking tin type portraits from the nice folks over at the pin number foundation. There's also a food and beer garden and photographs are everywhere, but a majority of the exhibitions are housed in shipping containers. And like last year we wanted about the events speaking with the Taga Fers editors and exhibit curator's first up, we're going to speak with Michael Lorenzini of the New York City municipal archives who alone with Matthew minor organized a show from the archive of the WPA federal writers project. We spoke with Michael about this impressive collection and his thoughts about the mission of the municipal archive, which he's been part of for over two decades. We stay in the new cruise. We speak with teachers and students from to New York City high schools, the high school of fashion industries, and my alma mater the high school of art and design. We had a chance to talk about the long standing photography programs and their current exhibit telling a story and selling an idea from there. We head over to an exhibit consequences slash consequences, which was organized by photographers from Shabbat Mexico. After a short break, we're going to return with Ron Viv and Dr Lauren Walsh of the seven foundation. Exhibit the focus of our chat is their upcoming film. Biography of a photo which traces the impact of two photographs. Ron Aviv took early in his career which have left indelible marks on the countries in which they were taken not to mention pretty much everybody who's viewed these photographs. Our next stop is to contain a curated by the authority collective and their exhibit the littlest thirty under the radar photographers. Here we're going to speak with members of the collective and photographer Arlene Geraldo whose work is included and we wrap up this visit. Fota Ville two thousand eighteen by speaking with curator Krista Dick's from the Los Angeles based gallery wall space, creative about their exhibit internal ballistics. Let's start with Michael Lorenzini from the New York City. Municipal archives with Michael Lauren's Zini with the WPA archive. We got some amazing black and white photographs. They go back decades specifically from the w. Which the nineteen thirties, correct? Yeah. The WPA was part of the Roosevelt's new deal Depression-era ways of battling unemployment. They had a number of different projects, and one of the largest ones involved the arts was w pay federal writers project. Now you said writers photographers. So the there was the federal art project, and there was the federal writers project, and there was federal music and theater and all these things. But the federal writers project had units in states which are forty eight states at the time, and they had a New York City unit, which was the largest of the units, and they collected photographs from the federal projects, and they also had their own staff otographer is that they sent out to document a lot of those photographs. Once that most peop- a lot of people are familiar with this notable photographers want to rattle off a few names. Well, I, I mean the in this exhibit the names, people are going to recognize. Is Dorothea Lang and Bernice Abbott, and we do have an number Abbott prints in the in the collection and couple of Dorothea lines. But I think what's interesting about the show is a lot of the other photographs are by either. We don't know, took them or their by photographers. The general public hasn't heard heard of before. How many were there. They're all together. We have never been able to compile a complete list of all all the photographers. Because like I said, some of them are are not lie on not listed in the in the New York City unit, though. I think we've been able to at least two dozen photographers and in that collection but the and but then he also collected, like I said, photographs on the federal art project and for commercial photographers. I think what's interesting is that a lot of these photographs, if you look at them, they're almost snapshots and they're kind of you'd even say mundane in many, many ways, the ordinary yet when you look at them, they are record of some of things that people in places that don't exist anymore. And they say an awful lot. You look at one photograph you seeing architecture, seeing the way people are dressed. You seeing automobiles, you're seeing occupations that don't even exist anymore. You don't see too many push cards now now. So the inspiration for the show is a one thousand nine hundred show that was done. It was at a by Bergara Milstein who is. Curator at the Brooklyn museum for many years, and the regional show is one hundred and twenty inches, and it was really sort of like a grab bag of different types of styles and photographers. And when we decided to relook at this and decided, maybe it needed a new, a new edit. One of the things we really wants focused on, it's just WPA photographers with no commercial photographers just hire who are working for the WPA. But also we started to whittled down to a certain aesthetic and what we're really drawn to is this sort of street photography, straight documentary aesthetic because it was so much more truthful and gave you much more of an impression of walking out into the nineteen thirties, New York City. And also these were taken at a time when photography was rather unique these days. I mean, everybody's photography of everyone's taking pictures, but a lot of these photographs here. Especially where people are aware of the camera, having picture taken was more of an event at that point. I think some of these people and some of these people might be the only first time they might. They actually been photographed. It's possible. Yeah, certainly. If you were a fish peddler, pushcart vendor, something like that you'd probably was not something people were normally taking photographs. So I mean, there's, you know, the person who's tried the most famous person in the show is Charlie Wagner who is a famous tattoo artists on the Bowery. So he may have had his photograph taken before, but honestly. I've not seen that many photographs of even of him and I know people who've done research. Can you talk a little bit about the the musical archives, maybe the history of a bit, the size of the scope of some of the interesting collections yet. Well, the New York City Munis bark is the archive of the city government of New York City established in the nineteen fifties and are collections go back to the sixteen hundreds though to the Dutch colonial era. We have photographic collections dating back to the mid eighteen hundreds, but really the the bulk of our collection start around nine thousand nine hundred hundred which is when the city really started using photography to document projects that they were involved in. So ninety nine percent of our photographs come from city employed photographers who are working for different city agencies. The WPA is one of our few exceptions where we accession this from from a federal agency, but. Collections, or is it all by donation. Yeah. Now we have know we have no acquisition budget. It's it's an and are collecting policy is really just to collect a the government records graded by government where there's a show here now from the summer of nineteen seventy eight New York Times her dog reversal. When there was a newspaper strike, they went to work for the parks department, correct, right. He radically those photos. Thirdly, those guest should be in our. But then they will, and they will be someday. You're, you're conservation and storage techniques. And most of these, I assume store our from original film. Yeah, medium format film. Well, in this. There was a number of different formats and film that the WPA photographers use. So so we have in this show, things that are originally on eight by ten negatives to thirty five millimeter negatives and everything in between. The original negatives have been in frozen storage for many years. Location, what he's doing. Well, our offices at thirty one chamber street. It's a surrogates court building, and that's where those particular negatives are stored. But we also have a warehouse in Brooklyn at industry city where we have a freezer farm of of negative storage. But we're, we're in the process of building out a new climate controlled warehouse space out at industry city with a big walk in freezer box. So which is my dream come true. So photos are still being added to this collection yo, yeah, yeah. When I I've been there for twenty one years, and when I started, we used to say we had a million photographs that we took in some other like huge film collections. And now we have about five million photographs and other any photos, let's say, well, we may call famous photos or I conduct photos that are house than owned by the municipal archives, something that regular person which is back well, I mean the most iconic Scott to be the Eugene to salad MAC photograph of the workers. The painters on the Brooklyn Bridge cables which so he was he was totally unknown until nineteen ninety nine, which is actually when I discovered that collection and the archives and did the research that brought them to light. And we did a book in two thousand and seven on him, but but that photograph have been known and had been. Published. But again, he was just an anonymous city photographer. I come from a photo editing background at aperture, and when I was looking at that collection, I realize this isn't a collection. This is a body of work. This is all one. I one photographer, thirty years, you know, and that was haven't made a discovery quite like that since then, but it that was a good one. But yeah, I mean, and there are other other icon images in the in the WPA collection in one or two collections that really stand out just gems. Well, that one, so that collection is the department of bridges, plant and structures collection, which is the same agency that changed their name from the permanent bridges, the department of plant structures at some point. But and that's twenty thousand glass plate negatives and ten thousand vintage prints, and that's really superb collection. This is about five thousand images total the WPA collection and again, another standout, but we have a lot of other ones, borough president, Brooklyn right now or digitizing the bird president queens collection, which is from the starts in the late twenties and goes through the forties. And it's again amazing. Amazing collection of probably have a ton of pictures from the world's fair from back in sixty four hundred. You know, the world's fairs were not quite done to say projects. We have this one collection that was done by photographer who is a retired news photographer, and he'd daughter donated that collection to us. But but other than that, we don't have a lot of cities stuff. A fair amount of thirties, world's fair, because I think as mayor LaGuardia was heavily involved in any any gaps, any major major gaps. You know, it's one of those things like right now I don't have. We don't have very much control over what agencies are going out and photographing and I, and when I hear about the different things going on in the city of different projects, I just keep thinking help some good photographers taking photographs of that. But I, I really have no control over whether that's happening. What percentage of the pictures that you've seen really stand out to you saying these are? These are exceptional photographs. He's a lot of them are just pictures a lot lot of absolutely with a lot of the of those municipal elections, a lot of them. It's just like somebody had to go out and and and and shoot a photograph of this document. This is straightforward. You know, technically may be good, but. Every once in a while you see a picture of nature stopping. How often does that happen? The exhibit we did last year was on the HP photographers, housing preservation development, and they had three really good photographer who worked for them over the years. One was Larry resi opo who sort of well known in your entire fy circles. But there was other photographer, Paul rice and Leonard boykin who I was really surprised. I was looking at these photographs and it's like. Lee Freelander like, you know, where did this guy come from? And why was he working for this agency. School the paycheck. Exactly. And health benefits I work for today. Is the white PD forensic stuff in in. Yeah. So I t in two thousand eleven. I hope taken the NYPD Manhattan photography unit collection, which went from eighteen ninety eight to about nineteen eighty. One hundred forty thousand images. So we take. Well, we've just finished processing it all and we digitize around thirty thousand images, but we haven't put them online yet, but there's, yeah, there's, that's another amazing collection that helps. That's going to be my next book project. What percentage of your photos you have have been digitized? Because that's a major undertaking on its own. Well, we're, we're right now. We're about to complete a real long term dream of ours, which is to digitize the nineteen forties tax photographs, which was another WPA sponsor project, which was they went around and photographed every single building and nineteen thirty nine through nineteen forty one using Lycos and thirty five millimeter film and the fiber rose. So it's over seven hundred thousand images, and we went back to the original nitrate film and we all the images have now been digitized. They're they're still doing QC and processing on them. And we hope by the end of the year, that's gonna go online and that's going to be pretty amazing in that will put what's we have digitized online close to two million images. So these all these images are easy to access online by anybody. Yeah. Oh yeah. We, we have a archives dot NYC. Well. Or you can go to NYC dot gov, slash records and will direct you to our gallery. We are at filter Ville two thousand eighteen, and we're with students from the high school of art and design and the high school of fashion industries, and it'll PS past graduate of high school of Orton Zayn many decades ago. The focus of this show is telling his story and selling an idea, and it features students from the high school of organization and the high school of fashion industries, and it's amazing, wonderful, black and white pictures here. Speaking with Ben Russell and Brennan McLaughlin with several students talk about this show. I Ben tell us a little bit about this exhibit how it came to be and the background to. Okay, so Brennan, I are both high school teachers teach photography, and we got together and decided to collaborate on an exhibition and show our students work from two different perspectives. Her students work is digital color work, and it's the idea of selling an idea. So our schools are schools career and technical education springs. So we're teaching our students photography and art, but we're also teaching them job skills, things that they could use in a career. So her work is as focused on assignments, fashion, assignments, commercial editorial assignments. And then my students work is focused more on documentary, work class, kind of photo, journalism work. And then the other difference is her work is digital and the work from my sentences, black and white film Pataki. So my school where privileged, we're one of only a few schools public schools left in. City where we have an actual working dark room and the students are given Pentax k one, thousands as much film as they want, and we teach them how to shoot and process film and make prints the darkroom now he complained about having to shoot film fashioned. No. Well, why don't you. That's one of them I'm saying. I'm saying that you'll just because honestly, I think if you could learn how to shoot film, you could shoot anything, and that's a beauty of you learn control and everything else. It's more than point and shoot. That's really, really great. They do complain about it though because it's messy, chemical smell, and they get on your hands and your clothes. And it's it's difficult and it's slow. But what I found is a teacher is that the process and the tedium and the difficulty and everything results in the kids being more invested in the results. That's absolutely true. Can you talk a little bit about how you set up the production side of making these shows? We're very lucky to have a full commercial studio. So half of it is a digital lab, half of it as a commercial studio, and the students utilize their work based learning skills and have jobs and facilitate photo. Shoots where they partner with the other majors. We have seven other majors at our school. Is photography and some of the work that's being exhibited is collaborations between fashion students at our design and photography students at our design. So chance to go to professional commercial studio and assist, and then take a look at that base learning internship program allows students to it's an application process. It's a little more individualized as opposed to an entire class, but they go through an application process and they, we have professional photographers, we partner with so they can see the fantasy both collaborative issue. I think that's really important. We didn't have that back in the day we've talked for is, and there was no interaction with the other departments. And I think if you're going into commercial work, that's really important because you don't work alone. If you're going out commercial, you are working with other people and you have to learn to collaborate notorious about where in a moment in public education where we're moving towards group base and project based learning. NG and people are looking at art teachers to see what that looks like because it's just so natural for project based learning to happen in the art room because so many subjects attached to it. So you can see the connections that are made between each subject area. Your name is. Erica. So what's your background? Did you enter in his own knowing that you wanted to be photography? What did you also come in with a different interests and after the first year of going around to all the specialties chose photography, I came into the school wanting to though to cartooning, but after hind did a photography project during my history class and my designed foundation, I fell in love with photography. 'cause I love the use of composition color and then the editing techniques as well. Okay. And what grade are you in now? I am in my senior year. We're also senior what he wanted to get out. What's your goal? What direction do you want to go? I'm interested in being a commercial photographer, falen any specific type photography? I think like maybe forensic. The interesting. Okay. All right. We've actually had, for instance, photographers on our show before it's an interesting profession. It's stop your name, this killing at Sierra. Oh, okay. I go to fashion in the face. Chase. And so for my artwork being someone who has families who are immigrants, I want to speak on that and show and demonstrate the shows of that. Yeah. Did you go into school intending to be a target for what? Did you also have a different inches before you got into school? Actually, my inches was to go into fashion industries as an artist, like physically in drawing traditionally. So when so when they gave me on black and white film for tariff, I was kind of frustrated because I didn't want to focus on that, but the way Mr. Russell said that this is the once in a lifetime, you're never going to get a chance such do this. Like who else is going to be having a black, a dark room in their room or somewhere else for us to do it. So I'm like, you know what I mean, open up my mind to this and take a chance. And so even till now I'm doing digital photography, I'm actually getting more into photography. So I want keeping you fine, art? Yes. Okay, good. Yeah. When the two? Yeah, I am. I'm thinking of like, oh, it's for some of the projects. I'm going to add like some traditional drawings onto lake actual film photography. I'm very, and the school that I go to is art and design high school. Okay. So you're senior also? Junior. Junior, okay. All right. I have to find. Did you did you enter art design thinking you're going to be a photographer? Or did you also come with the different specialty. I thought I was going to go into cartooning architecture. Then when we were in freshman year, when we were doing our design foundation course, we would. You know, taking the courses of every major that was in the school, and once we did the photography project, I was like, oh my, I sorta like this danger this like, Yup, Yup. Yup. Yup. During my head and I was like, that's what I wanna do. I wanna pursue in that. That's great. That's wonderful. So so the the photo that we're looking at here is light spiral, call it late painting. Maybe what was the task that was presented to you? So miss McLaughlin was teaching us was to study the emphasis of motion, and so I decided to do was used light painting as a way to describe motion so many takes to get to get the shot one. Yeah. My dad was helping me hold down the shutter open, so it would time the spiral that the lights were going in. I just decided 'cause late stick is very expensive nowadays, and I decided to get a wooden stick and some fairy lights from Michaels, and I taped it altogether and then just circle. Cameras, you guys use them. We're using cannon rebels. Wispy was Mona Islamiah nice to need you. So tell us about your work. My pictures are mostly based on family, so the first one I have my sister and the other one have my grandmother. This one is one of my favorite that I've done because represents my culture, my sister, she's she was getting ready for a modeling job, and she was representing our culture which is being vanish using traditional jewelry. And I just thought to capture the moment. It's great. Now, did you interschool thinking about photography, was that your goal or ju also have a different specialty before you? I didn't have any specific defense special teams. I knew that I want to do something that made me feel good, and that was sending a message out to the world and I wanted to get into journalism. And so when I got into Potocki I was looking more into photo journalism, and that's what I'm heading towards currently. Aren't you got a good start here. You've got a very nice compositions and all that to north. Thanks guys. Thank you so much. Okay. We are in another container. This one has a new theme. It's called consequences and we're with Pablo fiery fiery us and Isaac Guzman and nice to have you guys did some amazingly strong black and white imagery here. Can you gentlemen tell us about what we're looking at here. Consequences is an exhibit about the history of photography Chapas in the south of Mexico and how it connects the traditional film and silver gelatin printing work that historically has been so important in Mexico, going back decades to the more current digitally bays photography us for creating stories about community events and building memory, and that capacity for connecting people to they vents in their surroundings. So photographers in Mexico have taken on this tradition of many years of work in photography and adopted it and adopted it to make it part of their storytelling and creation of Bischel narrative San. What we wanted was to show how significant. Disconnection is in Chiapas which is the lowest incomes state in Mexico. Mostly indigenous state very much in the history of the Mayan people in in Mexico and one that has had a long trajectory of traveler photography is so going back to the eighteen forties, not with photography, but with the 'lustration Stevenson Catherwood date of the Mayan ruins that were here in Madison Square Garden in the late eighteen forty s when people would go into this. Large scale dioramas to visit the world before 'international traveling happen to the photos of more lean. The eighteen eighties that we're all in glass negative. Large format cameras, and so many photographers of the twentieth century that as travelers photograph the indigenous lives that culture the the very dramatic imagery of the tropical areas and the Mayan culture of Mexico, but building from that, we wanted to show how much people have adopted photography and have really created a culture of photography that is rooted in community and that with the journal photography now it becomes much more accessible. And so people like santiz. Are an indigenous woman from Tokyo. Maya community in Japan is using photography to explore the changes in the traditions and culture of took seal indigenous community that aren't gonna lose, which is a collective of Dogra Fers and his can speak more to that because his part of Tacoma lose is using photography to create a collective sense of house also changes developing in Mexico. And of course, who was for many years, an assistant and a student of Manuel Alvarez Bravo the best known iconic Mexican photographer and continues to print the work of Alvarez Bravo with Mexico working for peace archive brains, the learning that he developed working with Alvarez Bravo and other Mexican photographers to us to a new generation of dog refers how when when we just collection. Brought together. Initially. He said it goes back over one hundred years. A lot of these images. Well, this visitors, no these images go back to the nine thousand nine hundred eighty s and how many photography's represented here today about it. How? Well ten when counts the Tacoma loose collective. So it's two photographers. The portfolios of them patacula Negus the black at wide silver, gelatin prints. Roach scientists with her prints of traditional knowledge and culture, and then the Tagami lose collective, which is eight photographers out of a collective group that I is more contemporary. Gonna lose is a collective of givers from Chiapas working to. Represent their own community. Is that fair to say? Yeah, one of the main reasons that collective begin is to share photography in public spaces. The proposal was seventeen years ago to take photographs to the streets besides galleries. So that's how begin began the collective. Yourself people on. I'm fairly new. I have five years now, but there are friends that they started it. One of the things that we have is that the collective is really open and one of the main compromise that we have is to do pictures with people now not just after people, and that's how we work. We work like, and we recognize our selves as a free media kind of, as you know, in Mexico, you may know there are a lot of people that works for a specific newspapers or agencies, but we work from the community or work is more based in social problems and also on things that need to do with politics and art. Of course. We are showing here eight of us, but we really are twin around twenty members of the collective and is. Huge diversity of the people that works with a collective. Can you give us a couple of examples of some positive outcomes from people seeing these photographs because taking pictures and showing them as terrific, but is there anything concrete you could point to that has come about it? 'cause of these photographs, from my point of view, is that a lot of people like the idea of doing photography with many people, they practice off autograph iw as a collective is now is not new, but is in Mexico a way to do it. We believe because as you may know, the process of doing a news or being photojournalists in Mexico is every day more dangerous. So working as a collective, it gives you a more safeness also give you different bills. You can work on a theme and work differently. Actually, most of the members of the collective we are. You know, I'm reconized myself as the commentary photographer, but some of my friends, they do other things besides photography, they use photography with people, but we have paramedics nurses and writers. So there is a huge diversity Nicole active, and that's the richest -ness of the collective. How'd you get the photo Ville. Well, so we created this platform combat she lab. We have recognized that photographers have a talent in terms of how to get the work out and that more resources were needed in order to help them organize portfolios. We help them Brent helped him prepare their work and have it not only be present in Facebook or in Instagram, but be physically present, does photographs. So we can. I started this platform two years ago, Betsy Lavin setup printing lab, digital printing lab, and darkroom. Analog printing, so to speak and have organized a set of exhibits and prepared photo books. So we basically work with the photographers to help put their work out in print fair to say, I think you did answer it earlier, but in general, that the fundamental point of of the collective and of is is to get the image of Chiapas out. But from the point of view of people from GM's, yes, as opposed to the image we've seen over the past twenty five years. The poverty and the strife and war. Yeah, that's I think that's really important I from. I mean, even though the participants are not born in Chiapas, but they been living in Chapas since many years. So they are dashed to the context. So what we believe that is really important to show. They were from photographer leaving share that leave the reality that we live there, you know. I think that we can have amount of indigenous talk for swell. Yeah, actually in or collective. There are some of them members are indigenous most of these photographs digital or analog because I would imagine animal film in developing and he's kind of exotic where you're working. Well, yes, it is. But I would say I've been photographs will kill killer analog their film photographs developed by Hotan Kilani sock and printed in the dark room. And these are all silver gelatin print. So one third of what is here is completely analog film photography and printed in silver gelatin. The rest is digital. Can we speak. Higest crowd easier also. Can you your role in this project share? I just recently got on board with Pablo any sack. And basically since they're mostly based in Chapas, they wanted some feet on the ground in New York, and I did my master's thesis in Chapas about five years ago and studied anthropology and human rights. And I've just been really interested in how many different layers. There are to tell the story of Chavez through every single generation, and there's just been a lot of polarize views, and a lot of as Pablo is saying reclaiming of the indigenous narrative there and sort of celebrating, but also trying to adapt that narrative into the way. Mexico is evolving as a nation. We're familiar with your work. When you were there at working on your degree. I was familiar with track. I'm gonna this. I know I know bunch of people there. Yeah. Pretty interesting like we didn't know how to expect with like their resolve the people looking at the pictures because the pictures are not pretty are more document. Some of them I really strong in the sense of why they were present. So we were, you know. Winston corrected, many of them are very strong and looking around, you're not so many. So what did they know how to spec how people will be e? Yeah, so so far is so interesting that we are having connections with people that are interested in Tijuana's and some of them, they just remember places or even though photo efforts that are in this exhibition. So has been really amazing. I just say that Chapas is a place that if you've been there, it really takes a hold of you. And so the people that you know have come by that have had any sort of contact with the region are just so excited to see the stories here in New York. We believe in the power of the image as an element to that been shaping a reality in the sense of memory, I have learned from kill to print and from his follows from his history. So that's the image that connected us and we are connected now with this project. And we trying to connect more people with a pictures with four of us with history. Bill is a great opportunity for all of working in Chiapas to connect to the larger world of autocracy. That's why we came. That's why we organized this exhibit because we know here in New York. There's such a strength of organizations and work in photography, and we think that it's worth for people to know about what's happening down in the south of Mexico, not just in Mexico City, but also for folks down there to connect to the organizations and the activity of photography. New York stood good job here. Thank you. Thank you very much. We hope you're enjoying this edition of the h. photography podcast. Send us a tweet at be h photo, video Pash tag h photo podcast. Okay. We speaking with Ron her div and Lauren Walsh of the seven project, and the pictures here are pretty startling who'd like to tell us about a little overview of the film and then Ron can give you some background. So it's a film about two photographs. One was taken in Panama thousand nine hundred nine. The other one was taken in Bosnia in one thousand nine hundred two, and they are both autographs by Ron one depicts the Panama photographed two picks and elected vice president being beaten by a paramilitary thug of the then dictator Noriega. And the other photograph from Bosnia depicts three. Serbian paramilitary soldiers standing over the bodies of three people who've three civilians have just been executed. So both autographs are the most iconic in the part of the world where they were taken. That's Latin America and the Balkans, and we became really interest. Stated in understanding. What happens to a photograph after it leaves the camera, and especially what happens to a photograph that is the most iconic in it's part of the world. What kind of life does it lead? What kind of impact does it have? And it turns out that they have enormous impact in many spheres of society. So they filter, they've started journalism and they move into art, they move into propaganda, they move into education. They move into kind of commercialized kitsch as well. The around absolutely lives. Yeah. So let me let Ron tell you some background about the moments when he took those photographs and then follow up. We're standing here in the container of the seven foundation, which has multiple projects. One of which is supporting biography of a photo of the documentary about these two photographs, and basically the photograph from Panama sort of launched my career was my first foreign assignment was my first experience in conflict. And this photograph while end up on the cover of time magazine Newsweek and US news all in the same week and immediately had some impact. But it was not really until the United States invaded Panama seven months later where the real impact was seen when the president of the United States spoke about the photograph as one of the reasons for the invasion that took place, which is far as we know is probably one of the few times where photograph was referenced in military action by by the United States, and what was really interesting as we were doing this film, we interviewed the current president of Panama, and he said to us that this photo. Has an impact that gave Panamanians back. It's democracy, which is like an incredible thing to say about about a photograph and then on the photograph from Bosnia. This was the first real photographic evidence who up litter became known as ethnic cleansing in the civil war in Bosnia very quickly. This photograph that came a symbol for the Bosnians. They used it as a recruiting tool for people to come and fight on their behalf. And eventually when the international criminal tribunal was used to indict war criminals, this photograph has been used in multiple trials to indict and convict war criminals. And so today now twenty six years after the photograph was taken. The daughter of one of the women that's lying dead in the photograph is using this photograph as the sole piece of evidence to indict the three men in the photograph and one of the men, the men with his foot back with a cigarette and sunglasses is actually a famous techno DJ in Belgrade. So they're really trying very hard to to get him indicted. And what about the other to the other? Two are set to be policemen, so everybody's alive. Everybody is still there, and she feels even though this photograph is convicted, the politicians and the commanders, the actual footsoldiers. No one has been indicted yet. So the daughter wants there to be Justice for her for her loss family. I gotta ask you one question you. You said that this photograph one taken in Panama is. Was your first combat experience or was my first foreign trip? My first trip involving tear gas and bullets, and so on. When you hit the shutter, did you understand what you had captured there and what was going through your mind? Because I personally don't know how are they reacting to that? Well, this is the day. This is the elected vice president. The election results have been nullified the day before they, he, the other victor's came out onto the streets to start an uprising. So I had an understanding a little bit of what was going on, but in the chaos and what was going on. And actually when he was eventually dragged out of the car and he's covered in blood, some of the blood is his, but most of the blood from his bodyguard who was killed, trying to protect him. I didn't even recognize who he was. So it's sort of following the moment. So I didn't really understand what was going on. And in the beginning for me was very exciting as a career. I got the cover of the magazines. Nobody knew I was, but really when the United States president's spoke about the picture, I started to understand the role of photography and the fact that we can. Play a part in conversation, play a part and giving information for people to make decisions. It wasn't whether or not I agreed with the invasion was that understanding that my photograph played a role in that process, which I found incredibly fascinating. These photos have a life, but they have a life inside you to write for these years. What over the years have have you thought of these photos and how often do you go back to them? Either. You know, you made a movie about him, but physically look at them or even mentally to think about these boats and how much. How big a part of your own photo career do you think of them professionally, but also. Internally in the weight of photography and the role of photos playing well, professionally, I'm tied and connected to these photographs and the photographs have since they've taken are published, I would say at least every month, if not more since they've been publishing in various ways, the photographs, in fact, the photograph in Panama has been adopted by the country where the might credit doesn't even appear just says archive and it's published feeling and similar to photograph in Bosnia. So I'm proud of that connection, but the the personal was very much in that the first photograph taken nine hundred eighty nine. What I saw the impact that it had I not being completely naive, but a little bit more believing that photography can't help and can play a role three years later when the photograph was taken in the same ministration the US wasn't power. And this photograph I felt was visual evidence of what was going to happen. If the world didn't intervene and the photograph was. Completely ignored. And then I started to understand that sometimes a photograph can't do anything, but it has other lives. It has other ability to have impact, which is what we explore in the film. So there's both kind of personal hope for photography in this work, but also reality and also the understanding that it's up to people like myself and seven and other people to continue to remind people about what the power of the tacos. You can be so environment the photo while it is about my photographs. The film really does talk about this amazing power of photography and what what can happen with with images. Have you ever been frustrated with how it's been construed or how it's been used by the powers that be? You know, one of your photos when Russian dated Ukraine, a few years ago, a very, very powerful Russian blogger took this photograph change. The caption said that the assailant the aggressors where Ukrainian and the Vic. Items were Russians and the photograph went viral. All over all of Russia. Millions is cable news. It was complete fake news and I was like, oh my God, I put out a statement, but I had no reach to this audience and it was quite amazing. You know the way that photography can play a role today. Now, all these years later shot, many conflict zone. Since then, do you still feel the strength of what you can do? Do you still feel a positive impact? Positive impact, but you still feel what you're doing is worthwhile? Absolutely. I think there's without question still power in the photographers that are working today, whether myself or others working in Syria Iraq so on, because even though in our world of oversaturation and images, the really powerful images, important images eventually wind up to the top. And most importantly, even the Nord in terms of kind of having impact immediately, photographs stand is evidence stand is a record and they stand to homeless all accountable for our actions and our inactions. And I think they're always going to be very, very important to the documentation of. Of of human history. So you think the truth prevails eventually, eventually we'll come out eventually we'll have impact a lot of the work that you see here in the container has been incorporated in curriculum in high schools and other places. So visual elements are very, very important. Well, tell me about the movie and when we can find it where we can find it and it'll be released in theaters. The film is in progress. It'll be out next year twenty one thousand nine hundred and you can watch the trailer on biography of a photo dot com. Thanks very much. We are at the container of the authority collective and we are speaking with my name is Mary Kay, hang on thirty collective board member, and my name's Elaine crummy also board member of the thirty. My name's Arlene Mahad alla and I'm part of the littlest thirty. So of Thursday, collective is grip of woman fans, trans numb binary and gender, non-conforming people of color, reclaiming their authority in photographic film and the r. a. our industries, our mission is to empower marginalized artists resources and community and to take action against systemic systemic and individual abuses in the world of lens based aditorial that mentally and commercial visual or white. So you got together about a year ago in Los Angeles and from there. You've you've created this group. All right. And where did you go from there? How did you what happened between that meeting and us meeting here in a container in Brooklyn. So what of the original founding board members? Their aim is Oriana Koran, and this was their idea. The littlest was part of their idea. So on that journey from when they when the group was first founded till now. Oriana had. Put out a call for underrepresented marginalized photographers, and that's how we have the list. And so it's a group of it's a show of thirty photographers. And it's that was probably one of the biggest. The biggest actions, our biggest works of stuff from the authority collective or one of our larger real Jack. Yeah, it was. It was a goal of ours this year since it's been our first year. We've really set. Just a couple of things in mind to try to get to try to get going into be sustainable after the first year. And so this is one of them. We had a, we had a talk at Moquegua in l. a. the month of photography in LA at the beginning of the year. And I think we were just trying to build community as our as our one of our biggest things that we're trying to do between I forming, and now the shirt to show seems to be sort of stylistically pretty diverse. Yes. So I think our lean can probably speak more about her reasoning behind what photos that she chose. Yes. So being a part of the lit list thirty, it was interesting because it did bring together photographers at our Silas sickly, very different that are pursuing different areas of the field. So there are some that are more aditorial photo. Journalists, I myself I'm a photojournalist so I appreciated that there was like the space where. You know a collective exists that is kind of like a cheerleader or like a hype, man like something that we maybe didn't know we needed tobacco us up or to be behind us as we're like trying to make it in the industry. And also as we're like trying to build the, I guess, confidence to tell her stories also in a culture that maybe doesn't let us be centered or often we're like more on the periphery you're on the sidelines. So something like a collective really helps to bring that language just like center ourselves and create stories, and also have an avenue for having our work actually seen. And I think for me, like if a thirty collective hadn't existed, I don't know if I would have been a part of photo Ville being from Los Angeles and just so like it's nice to have this access to like the New York photo community, which I know respects photography very much. And, and to be able to me all of these Tigers from all over the world and and also be able to connect and find a little bit of that like comfort in like identifying with each other and saying, oh yeah, I'm going through the same kinds of struggles. I'm not the only one and like it breaks up that isolation that we can experience as photographers, women of color. And so, yeah. Have you had your photo shown at all prior to this. I, I, I have had photography my photography show, and I've had a solo Zabid. I've shown at the Charlie James gallery in LA galleries in Texas, but this is my first time showing my work at New York, and that's a big deal because I've always looked to New York for a lot of my photo references and and a lot of machine photographers are from New York. And so I think also being new to the industry like now that I've been coming to New York more like going to places like the open society or like you know, learning more about magnum photographers or the international center of tug v. like I'm really starting to understand how how our work can reach a level of respect that I think deserves that we, you know that we have an have access to these really great spaces and so- photo villes a nice Bennett. Nice bridge for that so far. Can you anybody here point to anything concrete that has come. To fruition since you've come together and started doing this body of work. For me, I feel like I've been getting contacted with more assignments, so it's letting me work and it's bringing income, and it's bringing opportunities. So maybe it's not directly correlated. But I did notice that when the list was published that right away, I started getting more emails from different media platforms and news sources that have asked me to do assignments and like you were saying, there's it's not just people. It's not necessarily people that look like me, but in general, just having the opportunity to tell all kinds of stories because I don't only want to photograph people that look like me or tell stories that are of mind because I think that's pointless like I wanna be trying to find a way to be a mirror for the world and be a storyteller visual storyteller. So like you were saying a lot of all the work here technically sound. It's very talented photographers. We've been creatively soon too. Yeah. Yeah, and definitely creatively sound, but it's exciting. It's like, you know, these new voices and emerging. Storytellers. And I think the working here is very dynamic and vivid. Cool. Thank you. Guess will with Krista and the show here is probably one of the more interesting ones. It's called internal ballistics. Could you explain what real looking at here is this differently? Sure. It's three different artists looking at the object and impact of bullets instead of talking about guns, which is so commonly done, I'm talking about what comes out of the gun instead sort of flipping the idea on its head to talk about gun control. Okay. What was the seed of this? There was an interesting Cup of coffee that would this was hatched over. I'm assuming in two thousand fourteen, there was a mass shooting that got me started thinking about how I could talk about what happens emotionally and physically when a shooting happens instead of talking about the guns, which we get immune to how do we talk about the impact of what happens through that? And this is what came up with that. Deborah as work. I have three artists here in the container. Deborah bay who's one of my represented artists had created the series called big bang and those are bullets that are being fired into bulletproof plexiglass. So we started with that. We added Sabine Perlman's cross sections of bullets so that we can see the actual object -ness of the bullet. And then Garrett Hanson created shooting targets, replicas of shooting targets, etched into mirror. So not only could we look at ourselves, but we can see where we would lose our lives if we were shot at because. Holes in the targets are heart inner head, and I think it's important to note that there is zero bloodshed or gore in this. It's metaphorical in some ways. It's beautiful. In many ways. It's beautiful and disturbing all at the same time. It allows you an entry way to be able to think about what exactly happens at the end of that below. Do you think most people get that. What I mean with people walk in here, do you see Har or do you see all in their face? I see a little bit of everything there. People that really understand it really get it on a really impacted by it. There are people that are more curious about it. They're people that try to talk their way out of it. They're more people that question my decision, whether I am a pro second amendment or anti second amendment person, I could see that it's yeah, so it it becomes an interesting conversation, and that's all really, I'm asking for, okay, you're creating a dialogue. Exactly because it certainly in fighting when you walk by here. It's almo-. It's very inviting. It's decorative. It's almost it's almost a celebration. And even the bullets are works of art, especially you line them all up the different projectiles shapes and everything. It's a science. It's an art, it's architecture almost. Then you realize what it is. Right? We actually have Deborah bay here. Happy to talk about and you did the plexiglas or the like the the bullets that are captured in a plastic glass and Bullock foot lasts. Okay. What made you, what was the seat of that for you? What made you think about that? What brought this project to version just bind plexiglass intellect to do some framing, and I had a little display with some bulletproof. Well, like just to demonstrate how effective bulletproof plexiglass at bay. And so they were like three or four different kinds of bullets that had been shot into the plastic and capture there. And so they're all these interesting trajectory lines and you could see the. Know the shadow pieces of plastic that were captured within the panel, and I thought, well, let's just visually so interesting. And then once you think of what it actually is and see the damage that it can read, you know, when you imagine something like that hitting muscle and bone versus being in the middle of a sheet of hard plexiglass. It was really very compelling. Yeah. Did you from there? Did you actually commission? What did you actually take pieces of this plexus and fire different caliber shells into it? What did you just happen to have access? So. So shooting up, Lexi that was actually did take took a while to figure out logistically how is going to do that. And it turned out it worked out really well because I ended up calling. The police academy at one of the local community colleges in Houston and the head of the operation there said, well, come on, we'll talk about it. And so they had access to a lot of different kinds of guns and ammunition that you know, probably regular people wouldn't have because I, some of them are actually assault bullets and things like that. So it was. It was interesting. You just wanna mess around with bullets and plexiglas like this because he could come back at you. Definitely. Yes. Whereas curious better. Okay. Now, whenever I gave talks do tell them, don't try this at home. Wall spaces based out of California. Can you explain how the process worked to to come to photo Ville? Did you apply? And how did that process work briefly? Well, I have been a fan of photo Ville for years now, and I wanted to find a way to come and showcase work earlier this year with the parkland shooting. We wanted to bring up this topic again since we had shown this now four years ago. So the submission period for photo villa was open. So I submitted the project to photo and went through their review process chided with them on the phone. And then they sent me a note saying that I've been accepted to photovoltaic the village. So you get a sense of damage with the plexiglas types, but in terms of the the innards of the bullets, is it more showing like the potential damage where you're trying to get at one of the big questions that comes up always when people look at the actual cross sections, are they real? Because the concept of a bullet is just powder and a projectile. There's no knowledge of the fact that so many bullets can be designed so many different ways to do so many different things to maim and kill in different ways. So this is more an object nece to show and display just how much science and effort and control. We try to take in generating that one object of killing. Thanks a lot. My pleasure. Thank you very, very much. Thanks to all of the photography's and organizers we spoke to and to the folks that continue to put together this wonderful photography festival for John Jason myself. Thank you so much for tuning in today.

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