In the 1970s, an unassuming Tokyo salaryman used his one day off each week to journey into the mountains of Gunma Prefecture, an 8×10” view camera in tow. Leaving the city behind, he trekked—first by train, then by bus, and finally on foot—until he arrived at the remote villages there.
Photographer Mark Cohen stalked the same small radius of Wilkes-Barre, where he lived and worked, for decades, taking groundbreaking and revealing photos of small-town life that revel in the details. A well-edited selection of his black-and-white work comprises Grim Street.
Candy Mountain, a low-budget independent feature from the mid-1980s that Robert Frank co-directed, easily ranks among his most significant filmmaking achievements. It’s a deeply personal work etched with social commentary that drives home just how much, in the wake of The Americans, Frank strove to distance himself from that career-defining body of work. It’s also his most mainstream project, and one that he ultimately deemed a failure.
Inspired by the Black Panthers, the Young Lords Party was an organization of Puerto Rican activists and community organizers, many of whom were first-generation college students at the time. The movement’s heyday lasted a little under two years, from 1969 to 1971. During that time, its members were on the frontlines of the struggle for social, racial, and economic justice.
A semi-forgotten gem that MoMA cites as the first American avant-garde film, Manhatta was co-directed by Paul Strand, one of the most influential photographers of the early 20th Century. His co-director was the highly accomplished Charles Sheeler, a classically trained painter and self-taught photographer who came up with the initial concept for the film.
This collection of short essays and reviews by one of the pre-eminent American landscape photographers explores a wide variety of topics covering all genres of photography.