This collection of Todd Webb’s work is a compelling and elegant visual record of 1940s New York–a city on the verge of enormous change–as well as an opportunity to discover a great 20th Century photographer who’s been largely overlooked.
On the heels of The Little Fugitive, we take a look at Morris Engel’s long-lost, recently restored 1968 feature film, which chronicles the experiences of a free-spirited young woman immersed in the East Village counterculture scene.
At the start of the 1950s, Photo League members Morris Engel and Ruth Orkin made a low-budget independent feature called The Little Fugitive using a small, custom-built portable 35mm camera. Their unassuming and charming debut as filmmakers went on to have an unexpected and considerable influence on the film world.
This month in Philadelphia: The inaugural 20/20 Photo Festival, “New Sicilian Topographics” at Art on the Avenue Gallery, “Michael Froio: From the Main Line” at Gravy Studio, and “A Quiet Light” at Wiota Street Garden.
A beautifully printed, densely informative catalog that accompanies the current MoMA exhibit (on view through September), Fotoclubismo highlights the visually innovative photography of a largely unknown mid-20th Century amateur photography club in Brazil.
In the Street is a sensitively observed slice-of-life portrait of Spanish Harlem shot in 1948 and released in the early 1950s. Acclaimed street photographer Helen Levitt collaborated on the film with her sister-in-law, painter Janice Loeb, and author James Agee, who wrote the text for Now Let Us Praise Famous Men.
In her collected writings on photography, New Yorker staff writer Janet Malcolm accomplishes what many critics set out to do but few achieve, illuminating much that is true about the medium in a unique, eloquent voice that is piercingly intelligent and bluntly honest.
Gare de Lyon, one of WIlliam Klein’s earliest filmmaking efforts, is much more modest in ambition and scale than his later films. It’s a quick sketch made by a brilliant autodidact who is just beginning to test the limits of the medium—and a relatively simple concept executed extremely well.
This month in Philadelphia: Kris Graves – “Testaments” at the Berman Museum, “Archives Reimagined” at the Philadelphia Photo Arts Center, and “Convergence” at The Halide Project.
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.