Portrait of the author, Sloane Crosley for NY Mag:
photo: Sloane Crosley, NYC, 2010. ©Graeme Mitchell.
Walker Evans is one of the cornerstones in the history of American photography, and while a few of his seminal images are in the popular canon, the heft of his oeuvre is, I believe, oft passed over for more accessible photographers like his contemporary H.C. Bresson. Yet, Evan’s work to me is nearly on a different plane – not above or below, more far to another side – unsentimental, demanding, lasting, and intensely intelligent. Indeed, Bresson wrote himself in a letter to a colleague in 2001, “[i]f it had not been for the challenge of the work of Walker Evans, I don’t think I would have remained a photographer.â€Â Needless to say, if you haven’t, you should find a book on Evans. He did a lot. A lot. Or the Met has an immense Walker Evan’s archive online, and the MOMA also has a succinct collection of his work.
I’m mentioning Evans b/c recently I’ve begun to look at his still lives and interiors. They leave me enthralled and immersed and nearly stunned. No hyperbole. In these I see everything from Pop art to Roger Ballen. This isn’t exactly internet work, so to speak, not wow work I guess: it’s quieter than that, but still, do not underestimate it.
photo: Penny Picture Display, Savannah, Georgia.. 1936. By Walker Evans.
photo: Kitchen Corner, Tenant Farmhouse, Hale County, Alabama. 1936. By Walker Evans.
photo: Kitchen Wall, Alabama Farmstead. 1936. By Walker Evans.
photo: Negro Barber Shop Interior, Atlanta. 1936. By Walker Evans.
photo: The Cactus Plant, Interior Detail of a Portuguese House, Truro, Massachusetts, circa 1930. By Walker Evans.
photo: Dressing Stand with Oval Mirror in Bedroom, Hobe Sound, Florida. 1934. By Walker Evans.
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell 2010
Model: Emily Senko w/ Ford
Stylist: Molly Williams
MU: Daniel Martin w/ The Wall Group
Hair: Seiji w/ The Wall Group
Photo Assistant: Blake Williams
Shot in Queens
I was in Cape Cod this past weekend, and the entire time I couldn’t shake this old, brilliant Paul Strand photograph out of my head…
photo: White Fence, 1916, by Paul Strand.
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: Twenty Nine Palms, California, 2010. ©Graeme Mitchell
Speaking of Twenty Nine Palms. A really great great great photograph by An-My Lê was taken at the marine base there. It’s in the MOMA collection.
photo: 29 Palms: Mortar Impact ©2010 An-My Lê