Cities of Angels
Part document, part historical recovery, and part visual essay, Cities of Angels grapples with the pictures of the great American photographer Lewis Hine and their legacy. Over a five year period, Hine visited western Massachusetts, among the most industrialized regions along the Connecticut River, and took picture after picture of the overworked and underpaid children he found. Cities of Angels presents many of these photographs, some for the first time, and pairs them with pictures made more recently. These new photographs meditate both on Hine's original pictures and on the afterlives of the towns he visited.
This Day in Spring
This Day in Spring is a series of short stories in words and images about small northeastern cities undergoing social changes in the Obama years.
A River of Dreams
Histories. Being a short essay, in words and images, on the origins and development of the Hampshire and Hampden canal, with special attention to the challenges confronting its builders and investors, followed by an account of its slow (and occasionally comic) demise and its afterlife as a subject for photographers.
Photographs. Being a short essay, in photographs, on the remains of the Hampshire and Hampden canal, with special attention to its obscure nature, including commentary, again in pictures, on a landscape marked by ruin and time's way with entrepreneurial desire.
Photographs. Being a short essay, in photographs, on the remains of the Hampshire and Hampden canal, with special attention to its obscure nature, including commentary, again in pictures, on a landscape marked by ruin and time's way with entrepreneurial desire.
Liu Zheng's People
Liu Zheng was born in Wuqiang County, Hubei Province, China in 1969. From 1994 to 2001, he traveled throughout China photographing a society struggling with the contradictions between traditional culture and the modernism set forth by Deng Xiaoping. In stark black-and-white pictures, he presented a broad cross-section of society, with special attention paid to those who were seemingly left behind in the flight to the future: the poor, transsexuals, coal miners, opera performers, and the rural elderly. At the end of his project, he confessed to being dismayed and exhausted and turned to other projects. What would his subjects look like had he continued? What figures of loss and resilience would he find if he had brought his camera into the modernity shaped by Hu Jintao and Xi Jinping? Liu Zheng's People pursues the experiment.