Description: A few days ago, I went to an IMAX 3D showing of Avatar to see for myself if the movie is a “game-changer,” as many have suggested. And, it is, but in a way no one seems to be focusing on—the way it acknowledges and exploits photography’s power to shape both everyday and alternate realities. What struck me, as soon as the movie started, was how sophisticated the film’s
Description: [caption id="" align="aligncenter" width="400" caption="A Penmanship sign was located in Boerum Hill and was painted in 1997. It was a faux billboard created by Jerry Johnson of Orange Outdoor Advertising, Photo by Bosc d'Anjou, Creative Commons: Attribution 2.0 Generic."][/caption] A week or so ago, I was looking through documents scanned by the Smithsonian Institution
Description: Periodically—given the fleeting nature of life and the ubiquity of photographic imagery—it’s seems like someone’s always trying to hatch another ambitious image-based cultural project to prove that, despite our differences, we’re pretty all much the same.
Description: Look at enough photographs and it’s inevitable that, at some point, you’ll find yourself pondering mortality and photography’s relationship to death. Because the medium so effectively captures fragments of lives, events, and data that have come and gone, you’re always looking at and trying to make sense of something that’s over, finished, part of the past. Writers—particularly
Description: Some years back, and for what seemed like quite a while, people were talking about scrapbooking. As more aspects of everyday life were going digital, it felt like more and more people were paying homage to the paper-based mementoes of their experiences that appeared to be heading for oblivion. Quickly, and to support all the saving, trimming, and gluing that people were
Description: [caption id="" align="aligncenter" width="368" caption="Cybill Shepherd at the "Castle" during the filming of "Chances Are," where she plays an SI curator, 1988, by Jeff Tinsley, Photographic print, Smithsonian Institution Archives, Record Unit 371, Box 5, Negative Number: 88-10752-31. "][/caption] The frequency with which the words “curator” and “curating” pop up continues to
Description: [caption id="" align="aligncenter" width="331" caption="14th Street and Broadway, NYC (man with goggles), 1947, by Louis Faurer, Smithsonian American Art Museum, Gift of anonymous donors, 2007.40.61 "][/caption] Earlier this month, Google introduced the Beta and Android-based version of the new and, for some, startling photo-based search feature they’ve calling Google Goggles.
Description: [caption id="" align="aligncenter" width="400" caption="Salman Rushdie's archives, featured in an Emory University publication, by Georgia Popplewell, Creative Commons: Attribution-NonCommercial-NoDerivs 2.0 Generic."][/caption] Back in October I talked—with great interest and at length—with Anne Van Camp, director of the Smithsonian Institution Archives, about the various